Cinco Graças

I am Turkish. I know how people behave in rural parts of Turkey. This movie is so ridiculously bad I would not waste another sentence for it if it wasn't for the minimal review length requirement of IMDb. So here it is, 10 lines... Actors do not even come close to give an authentic depiction of how people living in a village in İnebolu act and behave. The story is a disaster. The general attitude of the movie is tastelessly didactic. Don't you ever think that you get a somewhat accurate representation of anything regarding Turkish society from this excuse of a movie. The director/writer does obviously not know how things work in rural parts of Turkey. One of the writers is not even Turkish. So, go figure... The fuss around this movie (oscar nomination etc.) is a textbook case of westerners appreciating narratives about the rest of the world which justify their ideological preconceptions.

Mustang tackles with Turkey's most important problem, the issue of woman in society: her secondary place and the patriarchal chains around her, due to culture, politics, religion and socio-economic development. Therefore, the director's effort should be viewed as most welcome and needed attempt. I think the director manages to show the virtual prison experienced by all sort of women in our society, through the case of those sisters.

However, and despite the director's best intention, movie in general fails to deliver an authentic picture of everyday life and details in the country. Oppression of girls and their youthful desires is correctly depicted as a whole, but done in somewhat unrealistic ways. You get the feeling that the director, the script writer, and even the actors remain quite "foreigners" to the situations they are interested. Some are accusing the director as orientalist (playing to Western gaze) because of these failings. I don't agree, but it would be better if they had worked more on the everyday life and details of the countryside where the film occurs (like better local dialogue, better acquaintance of local customs).

In short, I found Mustang a very important movie, but with its own problems. Technically it does not offer something novel, but it is courageous directly to point the gender issue in a very conservative society.

Undeniably amongst the most powerful, provocative & pragmatic narratives to surface on the silver screen in recent years, Mustang is a beautifully balanced blend of skillful direction, sensible writing & terrific performances that takes a much-needed dig at patriarchy & conservatism and also works as a joyful celebration of sisterhood.

Set in a small Turkish village, the story of Mustang follows five young orphaned sisters whose lives are changed completely when they are caught innocently playing with some boys on a beach, after which their conservative family bars them from going to school anymore and begins marrying them off one by one without their consent.

Co-written & directed by Deniz Gamze Ergüven in what is actually her feature film debut, Mustang takes only a few minutes to establish the strong bond between the siblings before stepping into the realm of absurd social & cultural restraints that snatches away their freedom in the blink of an eye and every restriction imposed upon them turns out to be both nonsensical & unnerving.

The screenplay is no slouch either for it packs in an engaging storyline that smoothly unfolds over the course of its runtime and is filled with meaty characters whose arcs are well-defined plus they exhibit surprising depths. Ergüven's never goes in-your-face with her critical stance on orthodox mentality but simply exposes the challenges women face when growing up in such communities.

The technical aspects are thoroughly refined and work in harmony to further uplift the film's tone & ambiance to its desired level. Camera is expertly utilised, always keeping its focus on the relevant characters, while the bright colour palette reflects the strength & joy the sisters find in each other's company even in the bleakest of circumstances. And editing is immaculately carried out as well for every sequence plays a vital role in the story.

Coming to the performances, Mustang features a relatively inexperienced cast but the contribution from the five girls who play siblings in this feature is a highlight in itself. The scripted characters do have some flesh on them, thus providing a solid platform for the actors to built their performances upon but they further up the ante by delivering wonderfully layered & highly convincing inputs that makes all the relevant characters in the film stand out.

The story is told from the perspective of Lale, the youngest of the five siblings, and it's through her eyes that we witness the injustice she & her sisters are subjected to yet what keeps them together is their common passion for freedom & constant pursuit of ways to bypass the restrictions imposed upon them by the elders. And it is this rebellious nature that slowly accumulates as plot progresses & finally concludes with an act of self-preservation that finishes the tale on a hopeful note.

On an overall scale, Mustang is an ingeniously crafted, meticulously layered & deftly measured cinema that's engaging, entertaining & enlightening on more levels than one and for a first time filmmaker, it's an incredibly polished effort. Ergüven's direction exudes both confidence & composure and the story as a whole manages to make its voice heard loud & clear. A fearless celebration of womanhood & a heartfelt rendition of the indomitable will of human spirit, Mustang is a timely & welcome coming- of-age story and is essential viewing in every sense of the word. Don't miss it!

Mustang is a Turkish movie inspired by Sofia Coppola's Virgin Suicides. It takes place in a remote village in Turkey and follows the story of five sisters whose very conservative family slowly takes away all forms of 'perversion' away from them in order to make them 'suitable wives'.

The movie doesn't beat you over the head with its feminist message but lets the drama unfold naturally. The tone is surprisingly sweet and even funny in places for a movie with such a subject matter. First time director Deniz Gamze Ergüven has a strong grip on tone; she never allows the movie to become too gritty for its own good. The girls are not defined by the plot like it's often the case with this type of movies; they have moments of laughs and happiness which never undermine the seriousness of the subject matter.

The performances from the lead actresses are phenomenal. The youngest girl blew me away - not once do you feel like she's acting. Their performances is what make them so distinctive from each other and not just stand-ins for Oppressed Muslim Girls TM like it's often the case.

Mustang is easily one of the best feminist movies of the year, proudly sitting next to The Diary of a Teenage Girl. It's sincere and heartfelt, it's not preachy but honest and it shows great premise for the future of its director. Don't miss it!

Greetings again from the darkness. Writer/director Deniz Gamze Erguven admits to being inspired by Sophia Coppola's 1999 The Virgin Suicides (though this is not a remake), and by offering us a rare glimpse into the lives of five sisters in a rural community in Turkey, it's clear why the film has been so well received at film festivals – culminating in an Oscar nomination for Best Foreign Film. It's a bit confusing that the film is credited to France (Ms. Erguven's current place of residence) as it takes place in Turkey and is performed in Turkish. But of course, country of origin is a minor ripple in this year's uproar over diversity at the Oscars.

Not being any type of expert in Turkey culture or customs, I must accept that the insights provided by Ms. Erguven and her co-writer Alice Winocour are somewhat accurate, which makes the balance between the tradition of female oppression and the amazing spirit of the girls so relatable for many. What begins as a seemingly harmless game of chicken the girls play with some classmates (boys) on the way home after the semester's last day of classes, turns into a series of events that most will find absolutely unacceptable. The shame brought to the family and the threat of the girls being "spoiled" highlights the extreme reactions from their grandmother (Nihal G Koldas) and Uncle Erol (Ayberk Pekcan).

Lale (Gunes Sensoy) is the youngest of the sisters and in the end proves to be the toughest and most independent. And that's really saying something. We take in much of what happens through Lale's expressive eyes, and we as viewers long for reasonableness to enter their lives. After being what can only be described as imprisoned in their own home, the spirit of the girls collectively and individually becomes clear. They find ways, small and large, to rebel … but it's soon enough clear that the mission is to marry the girls off before it's too late (there's that "spoiled" thing again).

As Lale witnesses what her older sisters are subjected to, and how happiness or their own wishes play no role, she becomes more determined to avoid such destiny. With skewed perspective, one might make the argument that Grandmother and Uncle are doing what they think is in the long term best interests of the girls, but the Uncle's despicable actions void any such thought. Instead we are left to marvel at the strength and spirit of the girls in world that holds them in such low regard as individuals.

Lale's sisters are Sonay (IIayda Akdogan), Nur (Doga Zeynep Doguslu), Selma (Tugba Sunguroglu) and Ece (Elit Iscan). The girls are so natural together that we never doubt their sisterly bond. They argue like sisters, defend each other as sisters, and play together like sisters … were it not for their isolated existence, their bond would be a joy to behold. The cinematography throughout the film adds to the discomfort and dread we feel, and the acting is naturalistic and believable. In the end, it's the unbridled freedom of the titular creature that Lale defiantly embraces … whatever the consequences may be.