Nuri Bilge Ceylan

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Nuri Bilge Ceylan

Nuri Bilge Ceylan (born January 26, 1959 in Istanbul ) is a Turkish film director , screenwriter , film producer and photographer . He is considered an author whose stylistic characteristics include long shots with carefully composed picture compositions, little superficial plot and economical dialogues. The films of the currently internationally best known Turkish director are regularly featured at the Cannes Festival, where he was awarded the Palme d'Or in 2014 for hibernation .

education

Nuri Bilge Ceylan was born in Istanbul and moved to Çanakkale Province , northwestern Turkey, at the age of two , before returning to his native city at the age of ten. Ceylan studied electrical engineering at Boğaziçi University and decided to pursue a career in the military after a trip to the Himalayas . He served in an army corps in Anatolia for a year and a half and passed the time reading. At his reading the part autobiography of Roman Polanski , the drive to it after reading to pursue a future as a filmmaker. Ceylan later studied film studies in Istanbul and London .

style

Ceylan prevents the audience from identifying with the characters, as they are often unsympathetic. This makes the viewer more receptive to the visual and sound environment. His films show little plot in the traditional sense, instead he takes up small details of everyday life. The films also contain little dialogue, at least up to Three Monkeys ; the director values ​​them because we lie all the time in real life and let us express ourselves much more through facial expressions and gestures. Embedding characters in landscapes and weather conditions gives a film a “cosmic dimension”. That is why he is very fond of Caspar David Friedrich's paintings . Literature had a greater influence on his filmmaking than cinema because it has a longer past and is more appealing to the imagination. Russian literature and Anton Chekhov are particularly important to him, he carries Chekhov's stories around with him as a feeling. He sees himself heavily influenced by the Russian, especially when it comes to combining humor with tragic.

His films are very often compared with those of Michelangelo Antonioni , and some consider him the successor of the Italian. Another often-cited reference is the Iranian director Abbas Kiarostami , with whom he shares the style of the “time picture”, as defined by Gilles Deleuze . Accordingly, Ceylan's characters are more preoccupied with looking at their surroundings - and through them the viewer - than acting actively. However, there is also the opinion that he does not add anything new to the film language .

Working method

Ceylan often casts roles with relatives and friends, for example his mother starred in the first four films. He gives the reason for the great familiarity, which makes it superfluous to say many words. A recurring actor in his early work is Muzaffer Özdemir , as well as his cousin Mehmet Emin Toprak , until he died in a traffic accident in 2002. Even his father can be seen in several works.

He expressed concern about the direction cinema was taking. All possible tactics and measures are used to attract the audience, and in doing so, the author loses his sincerity and the film loses its persuasiveness. According to Ceylan, the fact that film production requires many resources and people creates great pressure on the filmmakers and damages their independence; he envy literature. To avoid this, he prefers to work with small budgets, especially since he understands minimalism as a kind of resistance to excesses and the consumerism of the present. This gives him full control over his projects, which he carries out with a small staff: in his first feature film Die Stadt , the staff, including Ceylan, consisted of two people, in the next two films of four or five people. However, for Jahreszeiten in which Ceylan was also an actor, the staff grew to 14 people, and for Once Upon a Time in Anatolia the team, which carried cranes and wind machines, consisted of a whole convoy of vehicles.

plant

1995 to 2002

His debut as a director Ceylan celebrated in 1995 with the short film Koza , who compete at the Film Festival in Cannes in 1995 for the Golden Palm competed.

In retrospect, Ceylan's first three feature films are referred to as a trilogy because they are very similar in form and theme. The autobiographical drama thematize the differences between country and city life, the escape from home and the return home. The first of these three films is The City . This tells, from the perspective of a child, everyday life and growing up in the Turkish province. Ceylan was thus granted success with critics and the city was awarded prizes at the 1998 Berlinale , the Tokyo International Film Festival and the Istanbul Film Festival . The Turkish filmmaker was able to build on this one year later, with distress in May . In this film, an alter ego from Ceylan returns to Anatolia in his hometown to realize a film project with his family members. Distress in May won a number of international film and festival awards , including the FIPRESCI award at the 2000 European Film Awards and awards from the Angers , Ankara , Antalya , Bergamo and Istanbul film festivals .

Ceylan's international breakthrough as a director came in 2002 when he worked again with Muzaffer Özdemir and his cousin Mehmet Emin Toprak on the drama Uzak - Weit (2002), the last part of his trilogy. Here Özdemir once again acts as the director's “second self”, as a once artistically ambitious photographer who now earns his living with advertising photos. A visit from a young relative from the provinces confronts him with the inadequacy of his life and plunges him into an existential crisis. For his part, the relative cannot realize his dream of finding a job in the Turkish city. Uzak - Weit premiered in Turkey in late 2002 and almost five months later competed at the 2003 Cannes Film Festival , where it was critically favored. The work was rewarded with the second most important award, the Grand Jury Prize. The two main actors were the first and so far only Turkish actors to receive the award for the best actor at the film festival. In 2004, the production was selected as the official Turkish entry for a nomination at the 76th Academy Awards in the category Best Foreign Language Film, but was not one of the five later nominated films. Uzak - Weit also received positive reviews in Germany, where the film was only released three years after it was made .

Since 2006

Due to the success of Nuri Bilge Ceylan, his friend Zeki Demirkubuz ( Yazgı , 2001) and Reha Erdem ( Beş Vakit , 2006), there has been talk of a renaissance of Turkish cinema, although Ceylan denies this and the increasing popularity of Turkish artists with the Orhan Nobel Prize Pamuks established. With the fourth film Seasons - İklimler (2006) Ceylan left the theme of belonging and home. It tells of the breakup of a relationship. Here the Turk not only appeared as a director, screenwriter and film producer, but also made his acting debut in the male lead, while his wife Ebru took on the female lead. The director was again represented in the competition at the 59th Cannes Film Festival . Seasons - İklimler brought Ceylan the FIPRESCI Prize in Cannes in 2006 and the Director 's Award at the Antalya Film Festival . Despite the praise, he no longer wanted to act as an actor in front of the camera and politely declined the direction and the lead role for a film biography about his well-known compatriot Yılmaz Güney .

In 2008 Ceylan was again represented with Three Monkeys in the competition at the 61st Cannes Film Festival . It is about a family that gets into a crisis because of the silence and repressing of father, mother and son. Drei Affen was awarded the director's prize. Months later, the film was selected as the official Turkish entry for the nomination for the best foreign language film at the 2009 Academy Awards , but did not make it into the five final nominations. In 2009, Ceylan was named to the competition jury at the 62nd Cannes International Film Festival . Two years later he received his fourth invitation to the film festival with Once Upon a Time in Anatolia (2011) and won the Grand Jury Prize for the second time . A year later, he was nominated for the European Film Award for best director. In 2014 he received the Golden Palm in Cannes for hibernation . Ceylan dedicated "this award to the young people who lost their lives in the past year".

In addition to filmmaking, Ceylan is also a successful photographer. His pictures have been exhibited in Istanbul, Thessaloniki , Granada and the National Theater in London . In 2005, Ceylan was on the jury of the 42nd Antalya Film Festival, which voted Ahmet Ulucay's tragic comedy Ships from Watermelons as the best film. In 2015 he was appointed to the jury of the 72nd Venice International Film Festival .

Filmography

Awards (selection)

Web links

Individual evidence

  1. ↑ Cemal A. Kalyoncu: Ürkek Ceylan Oscar yolunda. In: Aksiyon. June 2, 2008, archived from the original on June 8, 2008 ; Retrieved November 19, 2014 (Turkish).
  2. ↑ Asuman Suner: New Turkish cinema. Belonging, identity and memory. IBTauris, New York 2010, ISBN 978-1-84511-949-2 , p. 77
  3. ^ A b c Jonathan Romney: The action man . In: ABC Magazine , February 11, 2007, p. 4
  4. ↑ Suner 2010, pp. 92-93
  5. ↑ Suner 2010, p. 79
  6. ↑ Dietmar Kammerer: Then she looks at the flight of birds . In: the daily newspaper , September 27, 2007, p. 16
  7. ^ Ceylan in conversation with Positif: Entretiens avec Nuri Bilge Ceylan. J'ai quasiment you honte superflu . January 2007, p. 23
  8. ↑ Ceylan in an interview on the Trigon DVD Once upon a time in Anatolia , 9: 45–11: 30
  9. ^ Suner 2010, p. 90
  10. ↑ Manohla Dargis : The Spaces Between People, Even Lovers, in Images of Deceptive Simplicity . In: New York Times , October 27, 2006; Jan Schulz-Ojala: The past . In: Der Tagesspiegel , September 27, 2007, p. 27; Marli Feldvoss: Reality in Twilight . In: Neue Zürcher Zeitung , May 14, 2009, p. 41; Rainer Gansera: Paths inside . In: Süddeutsche Zeitung , January 20, 2012, p. 13
  11. ↑ Heike Kühn: In the restricted area of ​​the heart . In: Frankfurter Rundschau , February 3, 2005, p. 31; Cosima Lutz: Play us another song about death . In: Die Welt January 21, 2012, p. 26
  12. ↑ Elvis Mitchell: Not Exactly Felix and Oscar, but an Odd Couple All the Same . In: New York Times , October 15, 2003; Suner 2010, p. 91
  13. ↑ Suner 2010, pp. 91-92
  14. ↑ Manohla Dargis : The Spaces Between People, Even Lovers, in Images of Deceptive Simplicity . In: New York Times , October 27, 2006; Philipp Bühler: A love at zero point . In: Berliner Zeitung, September 27, 2007, cultural calendar p. 3
  15. ↑ Volker Hummel: Who loves the snow ... In: epd Film 3/2009
  16. ↑ Ceylan in an interview on the Trigon DVD Once upon a time in Anatolia , 19: 20–20: 15
  17. ↑ Ceylan in an interview on the Trigon DVD Once upon a time in Anatolia , 20: 25–20: 45
  18. ↑ Suner 2010, p. 78
  19. ↑ Suner 2010, p.
  20. ↑ Making-of article on the DVD Once upon a time in Anatolia
  21. ↑ God's dice: fresh filming . In: taz , February 3, 2005, p. 5; Suner 2010, p. 79
  22. ↑ cf. Clouds that don't move on . In: Süddeutsche Zeitung , March 5, 2005, p. 19; Claudia Lenssen: Wordless men . In: taz , February 3, 2005, p. 16
  23. ↑ Suner 2010, p. 88
  24. ↑ Lars-Olav Beier : Kot makes you inventive at Spiegel Online , May 16, 2008 (accessed May 17, 2008)
  25. ↑ cf. Official shortlist of foreign language feature films with English titles (English; accessed October 22, 2008)
  26. ↑ cf. Summary at indiewire.com, May 22, 2011 (accessed May 22, 2011)
  27. ↑ Ceylan dedicates Palme d'or to Turkey's young victims , hurriyetdailynews.com, May 24, 2014 (“I dedicate this award to the young people who lost their lives last year”)
  28. ↑ tccb.gov.tr
personal data
SURNAME Ceylan, Nuri Bilge
BRIEF DESCRIPTION Turkish film director, screenwriter and film producer
DATE OF BIRTH January 26, 1959
PLACE OF BIRTH Istanbul , Turkey