Seasons - İklimler

from Wikipedia, the free encyclopedia
Movie
German title Seasons - İklimler
Original title İklimler
Country of production Turkey
original language Turkish
Publishing year 2006
length 104 minutes
Age rating FSK 16
Rod
Director Nuri Bilge Ceylan
script Nuri Bilge Ceylan
production Zeynep Özbatur , Nuri Bilge Ceylan, Cemal Noyan , Fabienne Vonier
camera Gokhan Tiryaki
cut Nuri Bilge Ceylan, Ayhan Ergürsel
occupation

The Turkish feature film Seasons - İklimler (original title: İklimler ) from 2006 is a relationship drama by the film author Nuri Bilge Ceylan . He wrote, produced and directed the film and played the male lead while his wife Ebru Ceylan gave the female lead. It depicts, through gestures, looks and details in long, quiet shots, a couple in separation, closed people who cannot communicate with others. The work was shown in competition at the Cannes Film Festival in 2006 , where it received the FIPRESCI Critic Award.

action

The university professor İsa and his younger partner Bahar, who works in the production of television series, are on their summer vacation by the sea. The relationship is in crisis. Visiting ancient ruins and spending an evening with friends can lead to irritation. On the beach, İsa Bahar suggests living apart for a while.

When İsa and Bahar drive down a coastal road on a scooter, Bahar covers the eyes of their driving husband, and they fall. She goes off alone and takes a coach home in the evening. İsa continues the vacation. Autumn is coming. Bahar spends filming in the Anatolian highlands while İsa teaches in Istanbul. İsa does not miss the opportunity to visit Serap, with whom he used to be in a relationship. Serap lets him into her apartment, where İsa acts defiantly towards her. Suddenly he grabs her, who is fighting violently, pushes her to the ground, rips her clothes off and penetrates her. The next evening he visits her again; She happily asks him to have sex, but he has no desire this evening. It is now winter. İsa buys a small music box as a gift and brings photos from the summer vacation when he visits Bahar on the snowy set. This reacts coolly with coffee and leaves the gifts behind. Shortly afterwards he follows her into a minibus, where he finds her crying. He declares that he has changed. She asks him to answer one question honestly: Has he been with Serap in the meantime? He says no. The team leaves, İsa stays in his hotel room. He's booked a vacation flight for the next day. During the night Bahar knocks on his door and lies down on the bed. İsa lies down next to them and they fall asleep. In the morning she is cheerful and tells of her dreams, but İsa pays little attention to her words. She returns to her work. A recording has to be repeated because an airplane drowns out the scene being filmed. Bahar looks after the plane for a moment.

background

The original title İklimler literally does not mean “seasons”, but “climates”. The action takes place in summer, autumn and winter, whereas the fourth season is only present in the name of the protagonist, Bahar, which means spring in Turkish.

The first part of the film is set in the coastal town of Kaş , the winter part in eastern Ağrı . The building that can be seen in the landscape in the last sequence is the Ishak Pascha Palace , not far from the border with Iran.

Reviews

Regarding the performance of the actors, it was said that the roles were "played confidently", and the risk that Ceylan and his wife have taken on the leading roles themselves was "justified at all times". Maybe it is something like exorcism for them to play a couple in separation. It also aroused admiration: “What a love that can so validly tell of the dissolution of love!” The close-ups on Ebru Ceylan's face in the first and last shots were also interpreted as a “declaration of love from the director to his wife”. About the style it was said: “In contrast to many other directors of the present, he doesn't need a wobbling hand-held camera to appear authentic.” The “careful”, “precisely composed settings” were emphasized, the importance of the “exact composition”. The images were rated as “captivating” or “powerful, even if at times all too easily read through”. Some edge details are given enormous weight, and small noises also have a meaning.

Whoever overcomes the first spontaneous aversion to a film about something as tormenting as a breakup will be “richly rewarded”, promised Barbara Schweizerhof in the world . Because Ceylan's direction offers an “incredible accuracy and atmospheric density”. In the Frankfurter Allgemeine Zeitung , Michael Althen wrote that Ceylan told stories with “mastery and […] self-confidence”. On the one hand "wonderfully melancholy", the film does not glorify the melancholy. The protagonist is “driven by an impatience of the heart that quickly slackens his interest in the other person and is only inflamed by resistance.” Josef Lederle praised the “film, which is so overwhelming in its captivating imagery”, in film-dienst for the “clever change “From a subjective representation into a dialogue that marks the break between“ felt loneliness and real isolation ”. İsa's inner drive remains hidden, "only his life lies and dead ends in which he gets lost are more or less accessible to interpretation." Ceylan opposed the protagonist, who was locked up in his existence, with "haunting depictions of nature" and lively secondary characters, said taz critic Dietmar Kammerer . Therefore, the film follows "the introverted perspective of its antihero and at the same time leads beyond it."

For Rainer Gansera from the Süddeutsche Zeitung , the work was “not just a depressing theater of separation, but the most subtle art of portraits and exploration of feelings.” Ceylan could give his film “a meditative concentration and physical directness, so that the feelings can be felt on the skin” was, but arrogant and cold, and vacillate “between cynicism and self-contempt”, he won “like the unfathomably closed Bahar our interest and compassion completely. The mysterious magic of a relentlessly true film. ”Raimund Gerz from epd Film was bothered by this unfathomability . Ceylan shows the loneliness and melancholy of the characters, but does not get to the causes; this “consistent exterior view” makes the work a “rather heavy cinema fare”. In addition, the narrative is largely predictable.

In detail, the ratings in the reviews were:

epd film Powerful, precisely composed images; Figures without an inner view or development, often predictable.
film service An overwhelming film in its captivating imagery; staged extremely concentrated.
Frankfurter Allgemeine Z. Narrated with mastery; Ceylan a great stylist; captivating images; convincing performers.
Southgerman newspaper Most subtle, haunting exploration of feeling; Feelings noticeable, performers confident, images precise.
The daily mirror Wakeful and cool told; careful pictures; Ebru Ceylan plays great.
the daily newspaper Precisely structured narration; haunting depictions of nature; Humor.
The world Incredibly precisely and atmospherically staged you; authentic; Audience is richly rewarded.

Web links

Individual evidence

  1. ↑ a b c d Rainer Gansera: Love needs a fantasy . In: Süddeutsche Zeitung , October 4, 2007, p. 16
  2. ↑ a b c d e Michael Althen: The impatience of the heart . In: Frankfurter Allgemeine Zeitung , September 27, 2007, p. 35
  3. ↑ a b c Jan Schulz-Ojala: The been . In: Der Tagesspiegel , September 27, 2007, p. 27
  4. ↑ a b c Dietmar Kammerer: Then she looks at the flight of birds . In: the daily newspaper , September 27, 2007, p. 16
  5. ↑ a b c Barbara Schweizerhof: How love falls apart . In: Die Welt , September 27, 2007, p. 29
  6. ↑ a b c d e Raimund Gerz: Seasons . In: epd Film No. 10/2007, p. 50
  7. ^ A b Josef Lederle: Seasons - Iklimler . In: film-dienst No. 20/2007, pp. 38–39