Yol

The artistry of this movie is astonishing in virtually every aspect of its filmmaking. What makes that all the more remarkable is that the footage was all shot by the assistant director in Turkey then taken to Switzerland for Yilmaz Güney (a brilliant writer/director who had to leave Turkey to escape persecution and imprisonment, mostly because of his empathy for the plight of the Kurdish people under Turkish rule) to edit and dub. The cinematography is colorful, rich and varied. The musical sound track is beautiful and well-integrated. The various subplots seem to echo and build on each other. Somehow, while making the grim realities of modern Turkey all too evident, this film also left me with a feeling of the indomitability of those who struggle for freedom.

Thank Yilmaz Guney and Serif Goren for doing such a tremendous movie.Actings are excellent.This movie is the proof of the possibility to make great films with limited financial resources.Tarik Akan gives a perfect performance.The most I liked in the movie is the hesitation of Seyit Ali to leave Zine alone on the mount.Yol is a very well acted, edited, and directed movie.Of course it would be a great fault to forget the screen written by Yilmaz Guney.Thank people who gives us the opportunity to see "Yol" .

Turkey is officially the only functioning democracy in the Middle East, along with Israel. But "Yol" shows that regardless of Turkey's official classification, it does have political prisoners. In this case, five of them are given a leave so that they can visit their families. While on their leaves, they (and the audience) get to see the realities of life. They may have been released from prison, but there are some metaphoric prisons that we can never escape, no matter how free we consider ourselves.

It was interesting that Yilmaz Guney managed to make this movie from jail. He did a very good job here.

I had no experience with Turkish or any Middle Eastern cinema before seeing this, and it made me want to see more films from this part of the world. It is essentially a travelogue with completely separate stories of several men and their encounters in various parts of Turkey during temporary furlough from a government prison. For example, one of these men is a Kurd, and another wants to take possession of his wife who disgraced him by having an affair while he was away in prison. All of these story lines remain completely separate throughout the film, and it is in this peculiar structure (different from an American movie like "Magnolia", where the stories interconnect in some way) where the film's greatest strength and weakness lie. The strength is that this is a great way for a Westerner like myself to get a good overall introduction to several aspects of Turkish society. The weakness is that the first half of the film is exceedingly difficult to follow; we never get a chance to know any of these characters, because the director constantly cuts from one storyline to the next, which caused me great confusion.

Despite the flaws, directors Goren and Guney display a true film-making talent here. This is one of the harshest movies I have ever seen, on a par with other films like "Pixote" in its unflinching brutality. These two directors have portrayed 1980s Turkey under a military dictatorship as a true hell on earth - a society stuck in the Middle Ages and obsessed with rigid, archaic, sometimes brutal Islamic customs.

With its muckraking tone, I doubt this film has ever been shown in even a comparatively free Arab country. I also imagine this will be a particularly difficult film to watch for women, as the traditional Islamic punishment for female infidelity is presented quite graphically. There are several agonizing scenes that remain frozen in my mind - especially one in which one of these prisoners must journey on foot with his wife and son through an isolated arctic wasteland. It is in scenes like this during the second half where the movie becomes truly involving. These scenes are so exceptional that it made me disappointed that this film wasn't better than it is; it had the real potential to be a masterpiece, but took too many amateurish missteps. Luckily, the missteps were not for lack of ambition.

Five prisoners are given permission to visit their homes, and they get on their ways. Once out, we discover that we all live in a big prison, on endless roads which start and seem not to end. All roads end. Eventually. Absolutely harsh, touching, fierce, itching and scratching, disturbing movie about reality. A must see for those who have their own cliché definitons of how a "road movie" must be like.