Isztambul

a woman. her husband confession. her decision. a film about a crisis flowers - selfishness, options, need of escape from your existence and lay the foundation for new one. streets of Istanbul. a hotel room. Cappadocia as best metaphor. dialogs as sketches. like entire story because important are few images and the silence slices. a movie from a powerful direction of many directors to present pieces and roots from reality of every day. a film like an ash circle. dark, tense, strange. with delicate white drops of love. and a splendid minimalist script. the fresh air of end. and the impression of parable in skin of an usual event.

Isztambul or Istanbul. An attractive & complacent middle aged Budapest housewife goes into shock and despair after her selfish husband suddenly leaves her for a younger model. She walks out of her house in her night clothes, shoeless and armed with a pair of scissors, takes a tram ride to the end of the line and is then admitted to a sanatorium. From here she escapes with only a modest amount of money and begins a journey via various transports to Istanbul where she stays in a low budget hotel and meets a married migrant Turkish worker. The film flips between her family back in Hungary, worried about her state of mind and whereabouts, and her movements and observations in Turkey. There is little dialogue but the film is enhanced by the street scenes of Istanbul. This is a beautifully made film about a torrid situation - one of a breed of recent Turkish, Romanian & Iranian films that rely on the cinematography to paint a picture on celluloid. It comes straight out the the Ceylan school of film-making. Dark and brooding throughout. The closing scenes of Cappadocia are breath-taking. Johanna ter Steege & Yavuz Bingol are superb. The spoken dialogue is mixed Turkish, Hungarian and English, however, the English subtitles are very limited. It is one of those films that you could watch over and over again. If you like the works of Turkish director Nuri Ceylan then you will like this film from Hungarian director Ferenc Török. Well recommended.

one of films who could be defined as mirror. because its references are to familiar states. because it is easy to discover slices from states far to be unknown for you. the second motif to see it is Cappadocia. and Istanbul. gorgeous images and splendid rhythm of story. not the last - significant is the travel from the dreams of many from us. the escape. the new life. the expression of madness who solves nothing but who transforms everything. short, an useful film. for the artistic virtues. and for the great way to translate states of soul in memorable images, gestures and looks.