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Turkish filmmaker and novelist Tayfun Pirselimoğlu ("Pus" & "Rıza") completes his trilogy of human dramas with this drawn-out tale which premiered in competition at the 63rd Locarno International Film Festival and went on to compete at the 46th Antalya "Golden Orange" International Film Festival and the 16th Festival on Wheels.
Hamdi (Ayberk Pekcan), an introverted wig-maker who has been diagnosed with terminal cancer, becomes obsessed with Meryem (Nazan Kesal), a middle-aged woman who comes to sell her hair, and stalks her through the streets of Istanbul, learning about her unhappy marriage to unfaithful undertaker Musa (Riza Akin) and providing a curiously comforting presence.
A distinctively funny-looking Ayberk Pekcan ("Ali'nin Sekiz Günü" & "Kurtlar Vadisi Pusu") gurns and groans his way through the curious lead role generating an even curiouser chemistry with television actress Nazan Kesal despite the minimalistic dialogue whilst the dead-pan delivery of seasoned veteran Riza Akin provides one of the films few memorable moments.
The emerging director continues his crusade to tell authentically human stories but takes it a stage to far in this the final chapter of his trilogy as story-telling conventions such as character development and plot line are discarded to create a overly drawn-out and stupefyingly under-written slice of staring which goes nowhere and takes forever to get there.
Hamdi (Ayberk Pekcan), an introverted wig-maker who has been diagnosed with terminal cancer, becomes obsessed with Meryem (Nazan Kesal), a middle-aged woman who comes to sell her hair, and stalks her through the streets of Istanbul, learning about her unhappy marriage to unfaithful undertaker Musa (Riza Akin) and providing a curiously comforting presence.
A distinctively funny-looking Ayberk Pekcan ("Ali'nin Sekiz Günü" & "Kurtlar Vadisi Pusu") gurns and groans his way through the curious lead role generating an even curiouser chemistry with television actress Nazan Kesal despite the minimalistic dialogue whilst the dead-pan delivery of seasoned veteran Riza Akin provides one of the films few memorable moments.
The emerging director continues his crusade to tell authentically human stories but takes it a stage to far in this the final chapter of his trilogy as story-telling conventions such as character development and plot line are discarded to create a overly drawn-out and stupefyingly under-written slice of staring which goes nowhere and takes forever to get there.
It was one of the worst movies I've ever seen. The very slow unreal movements and reactions of the characters are comedy. Unrealistic character descriptions, actors reacting after a few minutes like absurdly paralyzed, sheer nonsense. There is unrealistic playfulness, as if he had a spasm. Poor image management also makes the movie worse. I definitely do not recommend. Don't watch and watch. You must watch more beautiful and meaningful movies, don't watch a meaningless and unnecessary movie. I think the director didn't know what he was doing and made himself funny because I was going to make a squeaky movie. It's not such a weird movie.
Expressionless. Staring. Quietness. Motionless. Passion in the form of undercurrent. City scene. Human indifference. Hair infatuation/fetish. Sickness... I just recall the experimental movies of Europe.
Not much to say about the story yet on the treatment. I watched this one at the 3rd Turkish Film Festival in town. "Geriye Kalan" (What remains?) and this film were schedule to be on air on the same evening. In a very funny way, identical treatment of the plots comes up so interestingly from these two different movies: 1) stalking the competitor/ target of passion to trace their everyday routine, 2) steals their home keys, sneaks into to take action (maybe just seeing or messing a little), 3) kills the competitor (who blocks the way). As the coincidence is so surprisingly coincident within one same evening at the same cinema..., I start to wonder if it is a "general practice" of the Turkish people to stalk, steal and slit (throat) when a rival in love appears.
Çigdem Vitrinel is copying Tayfun Pirselimoglu? Or, that's the Turk DNA?
Not much to say about the story yet on the treatment. I watched this one at the 3rd Turkish Film Festival in town. "Geriye Kalan" (What remains?) and this film were schedule to be on air on the same evening. In a very funny way, identical treatment of the plots comes up so interestingly from these two different movies: 1) stalking the competitor/ target of passion to trace their everyday routine, 2) steals their home keys, sneaks into to take action (maybe just seeing or messing a little), 3) kills the competitor (who blocks the way). As the coincidence is so surprisingly coincident within one same evening at the same cinema..., I start to wonder if it is a "general practice" of the Turkish people to stalk, steal and slit (throat) when a rival in love appears.
Çigdem Vitrinel is copying Tayfun Pirselimoglu? Or, that's the Turk DNA?