O Tempo e o Vento

This film is surprisingly balanced in many ways. It manages to have quirky, humorous characters who are still pretty real and relatable. It manages to have a young star who is likable yet also has some evil thoughts. It's beautiful and slow, but not heavy and profound.

All in all, a very worthy film. However there were a few awkward, overdone scenes that broke the spell for me. In particular, those with a father trying to make his good for nothing sons be useful. One makes do, but the other is both lazy and dumb. These characters never felt real....or even interesting.

Also, a few moments were just a little too telegraphed; a little too obvious. When a girl is running with a little baby down a steep road, for instance...hmmm, I wonder what might happen?

It depicts rural, small town life near the Turkish coast and, accordingly, moves at a pretty slow pace. Might be a bit slow for some, but should be enjoyable nonetheless. The current rating is over 9 points. Way too high, in my opinion, but this film is still a good time.

While there's nothing wrong with creating a film that says life is pretty much a drag for young people who are innocent victims of their parents and grandparents traditional ways, this film beats the theme to death.

For me, the film primarily rings with one quality: hopelessness. Filled with symbolism designed, I believe, to express the filmmaker's view that the preadolescents we meet are pretty much resigned to life as it is, and without even a hint that they have any way out of their situation, the film, while photographed beautifully, and with competent acting by most of the characters, emerges as little more than a turgid overview of a rural life that few westerners have been witness to on the screen.

There are far better films that do the same thing. I think of Bicycle Thieves, of the Apu trilogy, of Sugar Cane Alley, and of several other titles that bare witness to humans (young people especially) living lives of "quiet desperation" (as Thoreau put it), but which do so in ways that indicate the reasons, and which also present their characters as people who at least make an attempt to struggle against a situation they little understand and of which they are the victim.

Don't avoid the Times and Winds. See it, but do so as a lesson in how an inadequate film could have been so much more.

Dan Bessie / danbes@volcano.net

On day 6 of our Toronto Film Festival I have found my gem of the year. Last year it was "Cafe Transit" and this year "Times and Winds".

Story follows several preteens in a small Turkish village. One boy imaginatively plots his father's death who mistreats him, one boy loves the village school teacher, and one girls life will change with the pending birth of new sibling. It is a story of the death of innocence meaning childhood and the journey into responsibility and adulthood. If I heard right, (??) the director said he either lived there/grew up in that village at one time. The child actors are wonderful for first roles. I seriously loved this film, very gently moving at most times with moments of the harshness of life thrown in.

Also, movie is originally titled Times Five (or Five Times) which indicates the times they go to pray but they went with Time and Winds for the English translation.

This was the 3rd Turkish film I have seen this year and can't get over the spectacular scenery in all the films. Makes you want to go to Turkey on a holiday.

BAS VAKIT (TIME AND WINDS) is less a narrative film than a suspended contemplation on the cycle of life, the passage of time, and the persistence of family traits. It is a work from Turkey of rare beauty visually, musically, and natural grandeur. Writer/director Reha Erdem is a poet as well as an accomplished filmmaker.

Three young children are approaching the torrents of adolescence, each carrying emotional scars and family histories that will forever alter the way they reach adulthood. Omer (Ozkan Ozen) is the son of the local imam who climbs the minaret five times a day to chant the call to prayer: Omer's younger, smarter brother is favored by the father and Omer copes with the loathing for his father by planning his death. Yakup (Ali Bey Kayali), Omer's closest friend, has a crush on his teacher (Selma Ergeç) but is deeply disillusioned when he spies on his own father (whom he has always defended against his grandfather's abuse) attempting to court his teacher. Yildiz (Elit Iscan) is a girl under-appreciated by her mother and is stunned to overhear her parents coupling. The three children attempt to engage in a normal childhood, reacting tot he beauty of the natural surroundings of their poor little village to the point of learning animal husbandry first hand! They befriend another young orphan Davut (Tarik Sonmez), the town shepherd, when he sustains physical abuse from his guardian. The sensitivity of the children's reflections of their parents' maladaptive behavior creates a bond that sustains their daily trials.

There is not a lot of narrative here, but the sensory pleasures of the film are immense. Divided into sections labeled Night, Evening, Afternoon, Noon and Morning, the film follows the marriage of the calls to worship that clock the lives of these people with the atmospheric cinematography by Florent Herry and embellished by the sumptuous musical score by Arvo Pärt. It is a long film (just short of two hours) that takes its time to unfold the mysteries of coming of age and it is a film that will haunt the viewer long after the credits have ceased. In Turkish with English subtitles. Grady Harp

Celebrated Turkish writer-director Reha Erdem followed the international success of his previous films "Kaç para kaç" and "Korkuyorum Anne" with this mesmerising cinematic study of rural daily life in the Turkish hinterland which took home top awards at both the Istanbul and Adana Golden Boll International Film Festivals and secured international distribution.

Özkan Özen proves a surprisingly talented young lead with powerful support from fellow youngster Ali Bey Kayalı and Elit İşcan who all seem incredibly natural in there roles whilst Bülent Emin Yarar heads up the adult supporting cast which includes fellow Erdem regular Taner Birsel, Yiğit Özşener and the gorgeous Selma Ergeç.

The talented filmmaker takes his title, which translates as "five times", from the 5-times daily call to prayer that regulates the daily life of the Turkish peasants at the core of this film and divides up Florent Herry's exquisitely cinematography accordingly as it flows from character to character pausing each time to take in the gorgeous Çanakkale countryside.

Can you sing the call to prayer?