O Anúncio

First, in Turkish army hierarchy, lower level officer doesn't call his superior with his title yet calls "komutanim" (commander). That is all i am gonna say.

Mahmut Fazil Coskun movie made in 2018.

He co-wrote the screenplay with Ercan Kesal.

The film, which describes my failed coup attempt as a black comedy, is a marvel of cinematography and art direction.

As someone who has worked with him before, I know that you are a bit obsessed with these issues.

In this film, Fazil Coskun succeeded in breaking out of his own narrative language and staying true to his own cinematic language.

However, the screenplay or at least the difficulties in transferring the script to the film tire the audience.

Huh, does this make the movie bad? No way.

Raw Realism in "Anons" (2017): A Masterclass in Authentic Filmmaking

"Anons," directed by Mahmut Fazil Coskun, is a powerful example of restrained, realistic filmmaking. Set during a failed coup attempt in 1963 Turkey, the film captures the absurdity and unpredictability of its characters' night-long mission. Using long, uninterrupted takes and natural lighting, Coskun crafts a documentary-like atmosphere, immersing viewers in the story's tension and dry humor. The static camera work emphasizes the actors' subtle, authentic performances, allowing each moment to breathe. The cast delivers a naturalistic style, balancing humor and tension perfectly, making the film feel both grounded and engaging. "Anons" is a true celebration of raw, unfiltered storytelling.

On the outlook, Anons is an improvement over Fazil Coskun's previous film Yozgat Blues, adding a stylish noir type cinematography, but it's a step back narratively lacking the former's soul. The "frigid" colour palette creates a cohesive visual format to reflect the deadpan facial impressions of military men plotting a coup, not to forget the 'Frigidaire' metaphor as well. Still, absent-mindedness of the melancholic characters and arbitrariness of the shoved events squanders to constitute absurdism and comes off as a dish too cold to consume, too deserted to affect, leaving the audience as indifferent towards the film as the men in uniform are towards the plight of the coup.