Il était une fois en Anatolie

Ceylan's films always get criticized for being too slow, and yes, they are slower, sometimes much slower, than what the flickering-advertisement generation is used to today. In Turkey, he is heavily criticized for being "too artsy," inaccessible, and boring. I, on the other hand, marvel at how non-Turkish audiences can actually watch and like his films; it speaks volumes for his brilliant talent in making something so foreign and different a universal piece for everyone to appreciate. The untranslatable colloquial language, the lives of people in remote parts of Turkey with petty worries, a murder investigation that happen in snail pace, the local politics of small, mud-brick villages all become accessible. Combined with his impeccable sense of cinematography and some stellar performances, especially from Yilmaz Erdogan, whom we are more used to seeing in comedic roles, the film shines.

Why a 7/10, then? Well, I have seen all of Ceylan's films. They all execute the story arc well. They do not have Hollywood endings where everything is neatly resolved, of course, but they usually have some progress and movement through the arc. Somehow, this film lacked that. I felt like the main story arc was not fulfilled. I cannot really explain it; perhaps it was that too many things were left untold, or some "hints" were too vague and just when you thought they will lead somewhere, they didn't? Nevertheless, Once Upon a Time in Anatolia is another cinematic gem from the Turkish master. Highly recommended for those who do not have to have action packed scenes and formula-bound stories to enjoy a film.

Nuir Bilge Ceylon's "Once Upon a Time in Anatolia" is the complete antithesis to the conventional American crime drama, which routinely features detectives with matinée-idol looks, an assortment of plot twists and red herrings, and a series of breath-bating car chases to keep the masses from bolting for the exits.

"Once Upon a Time in Anatolia" has none of these. In fact, it features a cast of balding, sagging, middle-aged men - a police chief, a prosecutor, a doctor and two murder suspects - who have gone on a night- long search, through the dour planes of Turkey, in search of a buried body. As the night drags on, the men engage in a series of long, angst- ridden conversations that reveal how their constant exposure to and intimate involvement with the sordid and depraved aspects of the human condition have made them pessimistic and cynical about life. Yet, in the end, at least one of the characters finds a way, through a bit of professional compromise, to bring a little less darkness into the world.

Meanwhile, at every step in the drama, the movie drains the process of crime detection of all its "glamour."

It's a long - 157-minutes long, in fact - methodical, and frequently ponderous journey into the heart of darkness, but fine performances and a complete lack of conventionality make it a trip worth taking.

This film won the Grand Prix in Cannes, and it was deserved. A team goes into the countryside to find the body of a murder victim. The team includes the two men accused of the murder,one of whom has confessed and says he wills show them where they buried the body, the police chief, prosecutor, doctor, diggers, and guards. As the night drags on into the next day and the body is not found, the men grow more and more tired. Much of the film is beautifully shot in the dark or semi-dark, lit only by the headlights of the cars or a lamp in the village where they stop to rest. The filming is slow, showing the beautiful countryside and vignettes that wonderfully shed light on the different characters. What seems to be a simple task grows more and more complex; everything in the movie turns out to be more complicated than it first seems. Everyone seems to be guilty of something, so the film becomes a question not only of will the body be found, but who is guilty of what?

One could say that the film is too slow, but just as the team grows more and more tired, so arewe as the viewers, participating in the fatigue of the team, drawn into the feelings of the characters. Women and children are present only as lovely cameos in the film, but are behind almost everything. The actors are all superb, and it was amazing to me that Ceylan could show such depth and breadth of character and emotion and drama with only a few lines of dialog and amazing closeups of the faces.

I think this is the best movie of 2011 so far. A very different, but brilliantly conceived three part police procedural that is really a character study of two men and how they each deal with the past. In many ways, I had a similar experience here to what I have when I read a really good novel. The characters are rich and complex, often funny, and thoroughly believable. Nothing is crammed down the audience's throat, yet there is so much detail and nuance that it becomes easy to see the two men for the basically good, complex people they are. This is a movie that respects the audience's intelligence. It is also a movie that is easily among the best shot and edited of the year. In fact, it is hard to think of a single thing that I would suggest to improve the film. I have seen other Ceylan films, but nothing of his has ever had the depth, nuance and humanity of this one.

Anatolia, simply the rest of Turkey other than Istanbul. It is a place where the hospitality is served as the only gift with respect and honor. The fascinating thing is to see such sort of story which takes place in this land of world where hundreds of nations have existed and vanished throughout the history, by a magnificent director, Nuri Bilge Ceylan. I can understand people who have harsh criticism about these kind of arts so called as ''film-noir''. It may seem too slow or simply lack of action or someone can even question how other people can enjoy by watching so called cliché ' a man looking beyond the horizons all along the movie'. The point is no body has to like this sort of art. For instance it is like reading a book. Consider some pages of a book when there is no action but the author speaks instead of the hero of the book. So by watching ' a man looking beyond the horizons' makes me question what he could think or makes me put myself in the middle of the situation. And I really feel like I am that guy in the movie. But I really really and really feel like I am that guy, when the movie is so perfectly directed and so perfectly portrayed.

We can call this movie as a bridge or as a milestone in Ceylan's career. It is as simple as that, there is a very obvious change in Ceylan's directing and writing after seeing that movie. Having seen that, we can make this comparison like Before or After Once upon a Time in Anatolia. It is not 'three monkeys' or 'the climates' or 'the distant', it is obviously another one that carries Nuri Bilge Ceylan's way of directing to the next level.

Another must see...