Uzak - Far

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Movie
German title Uzak - Far
Original title Uzak
Country of production Turkey
original language Turkish
Publishing year 2002
length 109 minutes
Age rating FSK 12
Rod
Director Nuri Bilge Ceylan
script Nuri Bilge Ceylan
production Nuri Bilge Ceylan
music Ismail Karadas
camera Nuri Bilge Ceylan
cut Ayhan Ergürsel
occupation
chronology

←  Predecessor
distress in May

Uzak - Weit is a Turkish fiction film from 2002, written, produced, directed and photographed by Nuri Bilge Ceylan . The work received several awards, including the Grand Jury Prize at the Cannes Film Festival in 2003 . However, it was only shown in German cinemas on February 3, 2005. Uzak closes a trilogy that the film author began with Die Stadt in 1998 and continued the following year with distress in May . Stylistically, the film stands out due to its carefully composed, longer shots, which show both the interior and the wintry Istanbul . Ceylan addresses - partly autobiographically - the difficulties of men, in particular the dependence of their social position on professional success and their inability to talk about their worries and feelings.

action

Mahmut, formerly an artistically ambitious photographer, is now taking on financially lucrative photos for advertising catalogs. He lives in Istanbul and is divorced; his social contacts are limited to drinking groups with intellectual demands and occasional sexual visits to a woman who is otherwise in a relationship. One day Yusuf appears, a young cousin from Mahmut’s hometown, which he left years ago. Yusuf has lost his job in a factory when it was closed and wants to hire a ship to see the world. Until he finds a job, he can live with Mahmut.

Mahmut's orderly life, wrapped up in a supposedly intellectual attitude, and his well-kept apartment are mixed up by Yusuf's presence. His ex-wife, who he still cares for, tells him that she is emigrating to Canada with her new partner. Yusuf's job search proves to be hopeless for the time being because of the noticeable economic crisis in Istanbul. He is increasingly plagued by the lack of a woman at his side; In public places and in shopping centers he sneaks after unknown women or watches them hidden behind bushes. When he filthy Mahmut's apartment, he made violent reproaches and reprimanded his naive optimism about being able to find work quickly in the big city without a plan. Mahmut soon looks for a silver watch and cannot find it for a long time - Yusuf senses the unspoken suspicion that he has stolen the watch. Finally Mahmut finds the watch, but withholds Yusuf about the find. Yusuf left the next day, and Mahmut feels the emptiness of his apartment. He sits down on the bank and smokes a cigarette from the box that Yusuf left behind.

German-language reviews

In the German-language reviews there was talk of a “masterpiece”, of “high art” and an “overwhelmingly beautiful film” that is not your average cinema. The work would be understood everywhere and would make Ceylan famous in Europe. Either they left the question open to what extent the Russian director Andrej Tarkowski, mentioned several times in the film, could be found in the style of Uzak , instead made a stylistic similarity to Tarkowski to Theo Angelopoulos and Abbas Kiarostami , or declared him the “legitimate successor to Michelangelo Antonionis ". Intense and in a very unique way of high "formal unity", this is a film that "creeps into consciousness with silent violence and circles there for a long time."

The critics spoke of a “great painting of today's Turkey” that reflects the “economic and cultural crisis of a country” or that sums up a generation's feeling of crisis. The two men are "city mouse" and "field mouse" and not popular. Ceylan does not develop a large dramatic plot, but rather "inner perspectives", and works with the "reverberation [...] of incidental information". Mention was made of the occasional humor that appears, the "formal language that seduces you to look", the "artful, sparse snapshots", the "carefully composed views" and "beautiful" frames. The filmmaker creates a completely new view of Istanbul in the cinema, but which does not contain “any trace of exoticism”. The "extremely sensitive soundtrack" refuses the "well-known world music clichés."

Silvia Hallersleben from epd Film explained that you don't need to be a Turk or a man to be able to empathize with Mahmut's and Yusuf's alienated life. For the FAZ critic Andreas Kilb , the “dialectical trick” of the film was that Yusuf watched life in wintry Istanbul from a distance and thus came close to the audience, to whom it was equally alien. In contrast, Heike Kühn from the Frankfurter Rundschau said that the film adheres to the principle that “it cannot get closer to its characters than they can to themselves.” She described the alienation as follows: “People are silent and look at each other, but there is nothing. You look out the window, but there is nothing. ”In Die Welt , Neco Çelik described the two men as“ people who don't know what to do with themselves. ”“ The pain of not knowing how to live anymore should, ”said Claudia Lenssen in the taz , but at the same time it was one of those“ beautiful [films] whose flow of images evokes a subtle but haunting energy of protest against the conditions he is talking about. ”And Anke Leweke in the time :“ Melancholy and hopelessness of the heroes may determine the rhythm of Uzak, but the film itself does not go in circles. It's like the wind chimes at the window, the melody of which tells the comforting of other rhythms, larger cycles and movements. ”“ Something fabulously pensive ”found Fritz Göttler ( Süddeutsche Zeitung ) in a film with self-reflective elements:“ It plays like this in a fascinating way the private and personal against the highly artificial, he makes his own insecurity an issue ”.

In detail, the reviews have judged:

epd film Get under the skin; carefully composed images.
film service Visually sophisticated; sensitive sound track.
Frankfurter Allgemeine Z. Intensive; formally closed; offer a previously unknown image of Istanbul.
Frankfurter Rundschau Oppressively beautiful film, Ceylan will make famous in Europe.
The New Zurich Times Artful snapshots, grim humor.
The mirror Rightly received the Grand Prix in Cannes.
Southgerman newspaper Fascinating dialectic between the personal and the highly artificial; There is something fairytale about film.
The daily newspaper Nice film, seductive formal language, meet the feeling of a generation, cliché-free music.
The world Pleasant to look at, performers create a rare atmosphere.
The time Masterpiece, large painting, comforting tale.

Awards

  • 2002
    • Antalya Film Festival : Best Director (Nuri Bilge Ceylan), Best Film, Best Screenplay (Nuri Bilge Ceylan), Brster Supporting Actor (Mehmet Emin Toprak)
    • Ankara Film Festival: Best Director (Nuri Bilge Ceylan), Best Cinematography (Nuri Bilge Ceylan)
    • Siyad Türk Sineması Ödülleri: Best Film, Best Director (Nuri Bilge Ceylan), Best Cinematography (Nuri Bilge Ceylan)
    • Orhan Arıburnu Prize: Best Film, Best Director (Nuri Bilge Ceylan), Best Male Actor (Muzaffer Özdemir)
  • 2003

Individual evidence

  1. a b c d e Anke Leweke: Two worlds in one picture . In: Die Zeit , No. 6/2005, p. 39
  2. a b c d e f Heike Kühn: In the restricted area of ​​the heart . In: Frankfurter Rundschau , February 3, 2005, p. 31
  3. a b c d e f g Alexandra Wach: Uzak . In: film-dienst No. 3/2005, p. 46
  4. a b c d e f Claudia Lenssen: Wordless men . In: Die tageszeitung , February 3, 2005, p. 16
  5. a b c d e Fritz Göttler: Clouds that do not move on . In: Süddeutsche Zeitung , March 5, 2005, p. 19
  6. a b c d Andreas Kilb: Light in winter . In: Frankfurter Allgemeine Zeitung , February 4, 2005, p. 36
  7. a b c d e f g h Silvia Hallersleben: Uzak. New Turkish cinema: Nuri Bilge Ceylan's male story . In: epd Film No. 2/2005, p. 33
  8. a b c d Andreas Maurer: Ships in the distance . In: Neue Zürcher Zeitung , December 5, 2003, p. 45
  9. ^ A b Neco Çelik: Cannes winner "Uzak": Turkey discovers the advantages of the private . In: Die Welt , February 3, 2005, p. 28
  10. Der Spiegel: Uzak - Weit , January 31, 2005, p. 137

Web links