Distante

Reading some of the other reviews of this film, i was reminded of both good and not so good aspects of it. But overall, i have to say it is one of the better films i have seen from any number of genres or countries recently. More than anything else, it avoided many of the typical traps of more recent international cinema, like taking nice pictures of landscapes or being 'hip', 'fun' or imitating American films like pulp fiction. The film is unique in many ways. For one thing, it is a film about relationships in which sex plays no role (unusual, especially for foreign films). It is also a film about two men's relationship to each other (also unusual - not a 'buddy film', no homosexual tension, no ego/phallic competition). It uses little dialogue, but communicates a tremendous amount. It is a simple story, yet full of complex details which are easily understood by any human being and universal in their relevance. I did not find the film dark or depressing (everything would seem this way if you watch Hollywood happy ending films all the time), but rather a true reflection of human emotions. For instance, in the scene where Mahmut realizes his cousin is gone is you see both his feeling of relief, that the cousin is gone and yet regret, that he pushed him away. Who has not felt such ambivalence - when losing a friend or lover, or in some other situation? It's rare to get these kinds of real human emotions displayed on film in a non-cliché way. As far as culture is concerned, or this being a Turkish film, i feel it strikes the very difficult balance between being a 'Turkish' film - about realities which more apply to that place (the greater struggle to make it in a Turkish city versus a European one; the greater contrast between country and city), and a universal, human story which didn't necessarily have to be set in Turkey. In this day and age where people around the world are consuming culture and fetishizing it, this film does not try to entice us as 'Turkish', nor does it try to communicate it as a 'harsh reality', or 'that's how Turkey/Istanbul IS'. And yet the cultural elements are there. I think the comparison to 'lost in translation' that somebody made is quite good. Everyone, at least in the US, was raving about that film. I personally thought it was mediocre at best. It was well put by someone as a vague story which supposedly was supposed to deal with 'disorientation' that happens to people living or traveling overseas. Even if the film was supposed to be humorous, the characters and their motivations or crises were never clear (even for a 'lighter' film or comedy, this is necessary). And i found myself being treated to a typically 'orientalist' story of the alienated Amerian overseas. Going back to 'Distant', as for the idea that this is bad acting, or too slow, or has no plot, I'm sorry but people who say this know nothing about film making and maybe nothing about being human, no offense. You do not have to be a film aficionado or cultural connoisseur to appreciate this film. This film will be two hours of your time well spent!

Mahmut (Muzaffer Ozdemir) is a successful photographer living in his middle-class apartment in Istanbul. His wife has recently left him, and he is suffering from feelings of isolation and loneliness. Mahmut's cousin Yusuf (Emin Toprak) loses his factory job (along with possibly 1000 others in his hometown) and travels to Istanbul to find work on the ships, where he hears the money is plentiful and easy. Yusuf moves in with Mahmut, and the social and emotional distance between the two is immediately apparent. As time goes by, Yusuf struggles to find work and desperately searches for love (or sex) to no avail, while Mahmut becomes increasingly frustrated with Yusuf's slobbish attitudes and lethargic attitude.

Director Nuri Bilge Ceylan's background is in photography, leading to a natural progression into films. His eye for photographic beauty is evident as Uzak is often astonishing in it's framing and colour saturation. Istanbul is shot with an aura of misery, and these two lonely souls gaze out to the grey sea with the rain and drizzle falling upon their slumped shoulders. However, amongst the greys and the browns, Uzak proves to be an extremely funny film, with Ceylan drawing humour from the most mundane of everyday occurrences. I found the most subtly funny scene is where Mahmut and Yusuf watch Tarkovsky's Stalker (1979), with Yusuf getting bored at what looks like around the twenty minute point. Yusuf leaves, and Mahmut quickly puts a porn video in. Yusuf re- enters causing Mahmut to quickly turn the channel over, only for Yusuf to linger over his shoulder mindlessly staring at the TV. It brilliantly captures the increasing tension between the two, while laughing at their ridiculous situation.

The title Uzak translates at Distant, referring to the social, emotional and spiritual distance between the two, but it also refers to the global distance that is appearing in society as the world gets smaller. Communication is easier yet harder. Although Mahmut and Yusuf are physically and geographically together, they are miles apart. Mahmut is sophisticated and clean (or at least he likes to think of himself like this and models himself on Tarkovsky, but as the aforementioned scene proves, he'd much rather watch a bit of porn) and Yusuf is uneducated and messy. Mahmut has sacrificed personal happiness to live out his idyllic middle-class lifestyle, and Yusuf lazes around expecting a job and money to come to him, leading him to live out his miserable, sexually inactive life. Uzak is occasionally grim and contains little dialogue, but Ceylan's amazing eye for humour and social commentary make it a wonderful experience. And special mention must go to the two leads, who are brilliant in their roles, making it all the more tragic that Emin Toprak was killed shortly after the filming was complete.

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It's probably a year since I saw Uzak, but it has left strong memories of the two main characters, jaded photographer Mahmut and his naive cousin from the village Yusuf.

It's a long film with very little dialogue and a quite limited plot. This has evidently annoyed a fair few viewers. But the film constructs such a painfully believable portrait of Mahmut and Yusuf that there's just as much emotional tension as in the paciest thriller.

Just to be clear, there's no padding in this film -- in the long pauses where no one speaks there as much happening in the characters' emotions (and in yours, watching them) as you could bear. Go to see it awake and alert, and you'll be gripped rather than anaesthetised.

Uzak rings true in so many ways, and that sincerity is probably its greatest accomplishment. People don't grapple with events and problems, so much as with each other. In fact, in the whole film, there's probably not one point where the main characters (Mahmut, Yusuf and Mahmut's ex-wife Nazan) are not opposed.

Much of it is true the world over: country cousin Yusuf's perhaps wilfully naive expectation that a job on a ship will drop into his lap; Mahmut's urbanised cynicism and unwillingness to sympathise with Yusuf.

Other truths are more-specific to Turkey: Yusuf's incomprehension that Mahmut might be tolerating his stay with gritted teeth; Yusuf veering between macho ambition and wide-eyed awkwardness when he tries to get to know a woman.

Uzak is undoubtedly a pretty bleak film, and one Ceylan's strengths is not to beat us over the head with the themes he explores. For me at least, I believed entirely in the behaviour of his characters. All the little failed attempts to connect and petty cruelties ring so true. And yet I didn't leave with a message that "The world is like that", but instead I got "This is how we sometimes treat each other."

Uzak (2002), a Turkish film shown in the U.S. as "Distant,"

was directed, produced, written, and filmed by Nuri Bilge Ceylan.

This movie is a gritty and somber version of the clash between a "city mouse," Mahmut, played by Muzaffer Özdemir, and a "country mouse," Yusuf, played by Emin Toprak.

Both men are superb actors, and the plot allows them to demonstrate their acting skill. (Tragically, Emin Toprak died in an automobile accident shortly after the movie was completed.)

In most country cousin/city cousin tales, the contrast between rural and urban life styles is portrayed in a humorous fashion. In this film, there's little humor or even warmth. Both men have lost touch with human society. Mahmut 's work as a commercial photographer for a tile company gives him no satisfaction. He has divorced a woman he clearly still loves, and has no satisfying human relationships.

Mahmut has lost his job because of a factory closing in his small town, and doesn't have the skills or the energy to find work in the city. His human interactions are primarily confined to silent observations of the other people who cross his path. He's clearly a warm and caring person, but can't express these qualities in an urban environment.

The cousins don't relate well to the world, and they don't relate well to each other. Neither makes an effort to act in a way that would provide an opportunity for bonding or closeness.

In a sense, this film portrays an opportunity wasted.

Conceivably, each cousin could have provided at least part of what was lacking in the other's life. Instead, they steer parallel unhappy courses. The two men are distant throughout, which is a situation suggested by the film's title.

One of my friends mentioned the masterful way in which Ceylan builds detail upon detail. These details ultimately tell us more about the characters than we might have learned by simple exposition.

Uzak was shown as part of the Rochester Labor Film series. It's not a "labor film" in the traditional sense of that genre. It is a labor film because it demonstrates the harmful effects of unsatisfying work (Mahmut) and unemployment (Yusuf).

This is a quiet, absorbing, dark film. Although it doesn't make for happy viewing, I walked out of the theater realizing that I had seen a truly creative and important movie. This film is worth finding and seeing!

This is a film about loneliness and how the distance – physical and emotional -- between people tends to stultify relationships.

The narrative is simple to the point of banality: a young man Yusuf (Emin Toprak), from a rural village, arrives in Istanbul to stay with his older and successful cousin Mahmut (Muzaffer Ozdemir); Yusuf wants work in the big city. After trying for a few weeks to find work without any success, the strain of having Yusuf living with him is too much for Mahmut. They quarrel – nothing physical, just verbal. Eventually, Yusuf goes, leaving Mahmut alone again. End of story...

Except for the fact that the performance of the two men as relatives is one of the best on film. Much is said visually; dialog is used to bring out disagreement, distrust, hostility, and insecurity that exist within and between the two men.

There are many visual gems in this film. For example, while searching for work, young Yusuf, needing a relationship, tries in vain to gain the attention of various young women around the city. The look on his face, as he is thwarted every time, says it all.

Or, wanting a cigarette, Yusuf opens the door to the balcony of Mahmut's apartment and lights up in the frigid December air, leaving the door open; Mahmut, eventually gets up from his work desk, walks to the door (all glass) and the cousins just look at each other for what seems way too long a time. Then Mahmut closes the door, leaving Yusuf out in the cold. The metaphor is complete.

Or, Mahmut cleaning up after Yusuf, grudgingly and with increasing anger; and all the while, Yusuf wastes his time chasing skirts instead of looking seriously for work, and spends Mahmut's money on a toy for a nephew… Yusuf is emotional, untidy, impulsive, and vulnerable. Mahmut is rational, logical, self-confident and a demanding control freak: the right-brain, left-brain dichotomy beautifully played out by two actors who say more with a look, a gesture, a frown than any words can convey.

But, Mahmut is not completely emotionless: he still loves his ex-wife who tells him that she's off to Canada with her husband-to-be. Mahmut affects a distant and confident friendship with his ex, and makes sure that she is okay about going. He wishes her well. He says goodbye. He leaves the coffee shop where they were talking. Later when she calls to say a last goodbye, on the way to the airport, Mahmut goes there and secretly watches as she leaves. The poignancy of the emotion on his face, as she disappears through a door, is worth the wait.

All in all, this is a standout piece of work by the two main actors and the director, Nuri Ceylan. Some might argue that the pace is too slow; but life goes slowly for much of the time, especially for those who are alone. The camera work is relatively simple also: choose the scene, set up the camera and lighting, and let the actors move across the scene, enter the scene and leave the scene, all the while keeping the camera still. There were a few panning shots, some high-angle tracking shots, a few rural scenes – but much of the film is shown as though on a stage with a fixed camera and a wide angle lens. Except for TV and radio music within the story, there is no music sound track. And, there are those many long silences as the two men sit and watch TV together and/or engage in very limited conversation.

I saw this movie on TV so I was amused to see that, on a few occasions, I was watching TV as they were watching TV also. The silence in the movie matched the silence in my house (I was awake, all others in bed); my chair and position matched that of Mahmut's as he watched TV. Quite eerie, giving me a sense of almost 'being there' with him… And, I guess I was, in a sense.

I'll say no more, because I want you to savor the other scenes that I haven't described. It's not a movie for everybody, for sure. More than any movie I've seen, it shows just how much we die when we are all alone – just as we are all alone when we die. Mahmut's face, as it fades to black in the final scene, will stay with me for a long, long time...

Highly recommended for serious movie buffs.