Kader

Zeki Demirkubuz has his personal cinema aspect as the other legends and this view makes this movie the unique movie in the History of Turkish Cinema.

The leading role is the most important role in this movie because of his ability of show how normal Turkish guys love.

Also the movie show us how can a man ruin his and his family's life. The issue looks like ordinary,simple and routine but the director shows how important issue it is. Camera views , sound , dialogs are great Zeki Demirkubuz will be a legend in a few years. Original, different, extraordinary, must see..

Imagine a film, that makes you feel the hardness of the pavement you hit your head onto, once again. Imagine a film, the only thing you can do after leaving the cinema is shutting up your mouth. Imagine a film, that tells you the inside world of the taxi driver who is driving you home or to work.

This is thematic continuation of Masumiyet, but more in the flashback mode and hits much powerful than Masumiyet, although with a less experienced cast. The story tells us how the love of Bekir and Ugur (continued characters in Masumiyet) began, and the surroundings of them in their youth. But ! this is the apparent, the easily visible part of that film! The more important thematic gem, is the surroundings of these two characters, which appropriately fits the living-cultural-social conditions of the big populated suburbs of big cities of Turkey. This is not a documentary and not a love story with its simplest meaning and it is not realism; it is the reality itself. It's bone hard, that pulls you into the living of the 'damned', as termed by the bourgeois or religious jargon. The acting is, though Vildan Atasever got so much negative critics (my opinion, she is the leading cast, a very talented artist) superb. Keep also in mind that certain camera angels in very small locations are used masterfully. The story: do not look to the apparent love story going on ! Try to understand those circumstances and those people. People live the lives of conditions they are born into. It is a everyday news here in Turkey, that some people kill some other for not any reason that could be put into the borders of "western rationality". The best explaining word for this movie is a German word: Knallhart ! (not implying the film knallhart-2006 in any way) translated as tough enough, but which explains a more dramatic condition. That film is a real Knallhart of the last few years not only in the name of Turkish movie making. You can observe these lives in Barcelona, Rome, Berlin, and maybe all Latin America. For those watching this film with translation, either dubbed or subbed, many of the dialogs, i guess, will be more softly pronounced. Linguistic is the heart of a culture. And, Demirkubuz made his masterpiece by pulling out the heart of the streets of its shell and bringing it to the world of cinema. There is a world going on with very simple rules, when you are asleep.

and finally some trivial: Demirkubuz's 2001 movie Yazgi means also destiny or fate.

We don't get Turkish films in Australia, apart from the odd festival piece. We have to wait for the DVDs to arrive or to be sent by relatives. I have just seen Kader.

How interesting it is that characters and reviewers alike talk about Bekir's love for Ugur. In every culture, there is a degree of confusion where love ends and obsession begins, but in my experience it has always been a particular Mediterrenean/Balkan disease. The director, very skillfully, conveys that in an environment where all conviction is hopeless dedicating a life to a person makes as much sense as any other formula for living. Bekir's obsession for Ugur intensifies because of, not despite, her rejection of him. However, the film is much more than a doomed love story. It is at once an exploration of alienation of youth, a study of roots of violence and a critique of machismo culture. Bekir's character reminded me a line from a well-known Turkish poem: "Like a pain without a body / seeking an organ to attach itself" (my translation, my apologies to purists). In reality, the line applies to all the major characters in the film. Much criticised ending is perfect, in my opinion. I cannot imagine a better way to end this important addition to modern Turkish cinema.

If movie art would be mentioned as a football game, i would assume Demirkubuz as Johan Cruyff. I think Kader is the best example of the simple and fascinating character of Turkish Movie. Simplicity is the key word not only of Demirkubuz and Cruyff, but also of being expressive directly in movie art.

In the final part of film, the speech of Bekir is like the bullet of the speech of Frank (Denis Hopper) of Blue Velvet, it had its place in deepest part of my heart.

If we should make a choose of a masterpiece, Kader is the first candidate with its original and impressive language.

This is the best Turkish movie i have ever watched..its realism, realistic characters,realistic story containing all humanistic and ethical values are already milestones for not only Turkish cinema but also all world. Zeki Demirkubuz's best film,even better than "Masumiyet".Demirkubuz return back to the youth of Bekir and Ugur by telling the Zagor's world.Love that Bekir feels to Ugur and Ugur to Zagor makes us think about almost all ideas related to human and crime.In general , "Kader" is about life,human and what so ever. i do NOT find more words to comment on. i suppose;the ones watched the film will understand my surprised and shocked mode.