L'internationale

One of the best Turkish movies that I watched in years! It is certainly in the class of great Italian movies; the script, acting, cinematography, and the music are all great!

This movie tells the story of an era in Turkish political history full of military oppression, violence, prosecution, and ignorance in a satirical way. The choice of the song "International" as the theme music in the movie is smart and wonderful!

I have only one criticism about the script and that's why I did not give a perfect score: the events in the last 5 minutes of the movie have evolved very quickly and ended in an unusually dramatic way, which made me think if there were financial reasons for ending the film so abruptly. Otherwise, it had the potential to win prestigious international awards. Congratulations to the crew who produced such a great movie with a small budget!

A 2006 Turkish film directed by Sirri Sureyya Onder and Muharrem Gulmez, which proves its success by remaining highly watchable nearly 20 years after its release, carrying a flavor and atmosphere reminiscent of "Vizontele".

The screenplay was written by Sirri Sureyya Onder. The leading roles feature names such as Cezmi Baskin, Ozgu Namal, Umut Kurt, and Nazmi Kirik.

At the center of the film is Abuzer (Cezmi Baskin), a saz instructor trying to preserve his artistic and human values amidst the absurd circumstances of a military coup era. The story is shaped around him. Abuzer evolves from his initial passive and accepting demeanor into a figure who takes risks for his art and values as the events progress; this demonstrates his character development. Abuzer's daughter, Gulendam (Ozgu Namal), is also a significant character who drives the narrative forward.

"Beynelmilel" stands out with its strong screenplay, successful performances, and original directorial vision. I recommend this film, which is both humorous and thought-provoking, offering us a different window into our recent history. It is a must-see production for fans of Turkish cinema and those interested in political satire.

* Screenplay and Storytelling: 8/10 * Directing: 8/10 * Acting: 8/10 * Cinematography: 7.5/10.

Beynelmilel is one of those rare films that you don't just watch-you truly feel. It's a masterclass in absurdity, wit, and emotional depth, seamlessly blending humor with the heaviness of grief and oppression. The film's brilliance lies in its intelligent storytelling and the way it captures the tragedy of its characters with a sharp, satirical edge.

The performances are outstanding. Every member of the cast brings nuance and authenticity to their roles, delivering their lines with such raw emotion and precision that it's impossible not to be drawn in. The chemistry and timing are so finely tuned, it's clear this is a group of exceptional talents.

What makes Beynelmilel unforgettable is how it balances its absurdist tone with genuine emotional weight. The sorrow never feels forced; it's there, quietly persistent, beneath the laughter and irony. You can feel the pain of the characters, the injustice of their world, and yet you keep watching with a strange sense of joy.

I've seen this film multiple times, and not once have I grown tired of it. On the contrary, I find myself appreciating new layers with each viewing. It's a film that keeps giving. For me, Beynelmilel stands as one of my greatest cinematic experiences-funny, tragic, sharp, and profoundly human.

Thank you Sirri Surreya Onder for this experience- may your soul rest in peace 🙏

I was not expected an extraordinary movie such as Beynelmilel. Recently, there has undeniably been an increase in Turkish movies. However it is clear that quantity can not bring quality into the scenes. I am grateful for seeing a master from Gulmez and Onder. The budget was small, contrary, story and drama was at the highest. We learn the life of Gevendes' - local musicians- in Adiyaman region. People were looking for a little bit freedom for their way of life. For the moment, it seems strange even listening music was prohibited by law makers. We should appreciate the freedom we have now. It is definitely that the freedom needs enlargement in Turkey. Comparing in the days we live I feel better.

The movie was made so plain and perfect. Directors did not exaggerate the scenes to increase humour. Humour factor was talently implemented into the body of the movie. As Gulendam, Ozgu Namal played very well. She was really beautiful and capable of playing difficult characters. As Abuzer, Cezmi Baskin was fantastic. His play is not comparable to the other Turkish players. He is far behind them. As Semra, Meral Okay capable of adding value to the movie. We can see her power easily. Most of the other players are not famous but they were playing their roles like they are an expert.

In my opinion Beynelmilel should have gone for Oscar instead of Dondurmam Gaymak. Definitely the directors make Beynelmilel in basic film rules and they seem to win success with the help of story, players, scenes, culture.

The film is telling a story from Turkey in a difficult time slice and place. The time is 1982 and place is Adiyaman from less developed portion of Turkey. Story is using local musicians who are earning their life from night entertainments or from weddings, as a tool to develop around. Scenario is convincing well and many details such as small things, objects, and clothes are perfectly reflecting that time and that place. This is together with the correct dialogs developed between local people and officers, giving a highly realistic atmosphere to the movie. In spite of some accent errors, cast is successful as well.

The mood of the film has a spectrum from comedy to tragedy like their life itself. The peak comedy scene in cemetery is really better than many comedy movie, and the last scene showing the changed world after years are really tragedy, or black comedy. Old and fat but congenial singers who are derived from other cities to sing in the nightclub are playing the timeless philosophic minds of such situations.

To avoid any spoiler, I will not tell in details but the final public meeting scene and unusual events in the meeting are not realistic. This portion is the only faulty portion of the movie. This is not a masterpiece but a movie not to miss.