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Click for the screening schedule. A total of nine panels will be held at Istanbul Modern Cinema in conjunction with the screenings in each section. We kindly remind Istanbul Modern members and Istanbul Modern Cinema devotees that tickets for the 33rd Istanbul Film Festival must be purchased from Biletix 98 00; biletix.
Thus, this film contains the first articulation of the uneasiness in the relationship between the city and those who repeatedly aspired and owned it from the time of the Conquest to the modern day.
It is a film noir horror fantasy which shows that Istanbul is comprised of many different, layer upon layer of Istanbuls—from Byzantines to American spies disguised as real estate brokers, from poisoned manuscripts to melancholy vampires who watch the waters of the Bosphorus. Just like in real life, Zeki replaces the radio diva who has fallen sick, and captivates everyone with his voice. On the walls of the house they keep her in hangs the poster of Awaara along with other film posters. When the ice between her and her abductors starts to melt, she asks about the posters.
It will be an unforgettable experience to watch these two underrated masterpieces of Turkish Cinema. The clash between these two strong personalities is reflected in both the narration and the unique configuration of the film space. The story is mainly a fallen woman story that is inspired by both French Poetic Realism and Film Noir - with the exception of a Femme Fatale character. The lack of a woman to blame brings the audience closer to the evil deeds of the scheming gang members.
The quay and other parts of the city seem strangely disconnected, partly due to the script being written for İzmir and filmed in İstanbul. However, the film benefits from this conflict by making the inner traumas and loneliness of the lovers visible by creating unreachable islands of light in the middle of darkness.
After several decades, a similar darkness covers the whole storyworld in Serdar Akar's cult film On Board. In the middle of this darkness, Akar makes use of a ship as a symbolic island-homeland. The film tells the story of four sailors who kidnap a prostitute in Laleli and bring her to their ship-home. The story mainly takes place in this ship which is anchored in the Bosphorus, apart from a night out in İstanbul.
Akar's city, which is not better than his ship, consists of fragments of a dark and drunken Laleli night. We cannot harbour any hope anywhere, especially for the woman. Despite its flawless editing and framing, the film owes its cult status mainly to the dialogues. Unfortunately however, non-native speakers might not be able to appreciate the imaginative and original swearing that the dialogue contain. This double bill is an unmissable opportunity to see original and exquisite work. Manhood points to boyishness and boyishness points to arrested development.
As it says on the back panels of minibus taxis: Thanks to my father! A long narrow road where labyrinths of liberal economy and the equation of needs and desires get all tangled up…. These two films which belong to completely different genres seem to be in agreement about Hot blonde at fatih and whiskey saturday night provocative of becoming a different person through disguise.
Doubtless, this acceptance is not due to Naciye and Fikriye being very convincing in playing women. Both films are adaptations of foreign products. Melting of differences in one pot like making fusion turns into a carnival. It has been the epicenter of culture, art and entertainment for centuries. When the lovers try to declare their independence, he prevents them from working by purchasing relevant small establishments. But, unlike real-life power hungry men, he gives up on his insistence. As the camera pulls out, Ekrem becomes smaller. These two films have been immensely popular among Turkish audiences from different generations.
It is going to be a sweet and sour treat to notice the common traits despite the years and miles between them. She loses all that she has but is determined not to give in. The Return deals with its contemporary issues: The 70s were the times when migration from rural areas to big cities in Turkey and Europe was at its height and it was a politically turbulent era. The story consists of several events that are quite familiar to Turkish cinema audiences from the film cycles about countryside and immigration. The film combines these fragments in an original way.
The film shows an inclination toward Third Cinema principles such as Brechtian acting and montage sequences of idealized and aestheticized country life. Unconventional cinematography emphasizes the need to question the situation and change perspective. As for the immigrant, the film claims that it is impossible to return.
The one who goes cannot remain the same, nor can the one who stays. In Head Onwe understand how little has changed for the free spirited who no longer have a home to long for. Watch these two pieces of artful and spectacular storytelling about belonging, love and standing up for your rights.
It would not be an exaggeration to claim that the popularity of these two films have changed the course of Turkish Cinema history, at times when very few people frequented movie halls. Cemil has come to a big city and gotten rich; Azem, on the other hand, has remained loyal to his humble past and his life is devoted to his people's problems. Azem is the embodiment of an idealist leftist intellectual of his time. Portrayed as a thinking being, freed from all bodily needs—especially sex—he does not have any human flaws. Azem is determined not to feel joy until the day all the oppression ends, and also, finds joy somewhat intolerable.
All the other characters look vain, greedy and egotistical, when compared to him. Despite an unforgettable highway scene and indubitable intentions, Azem's political power is limited by his rather narrow outlook. The film unnecessarily directs all its animosity toward Cemil's wife Necibe Azra Balkanby blaming the country's problems on this 'corrupt' woman of the big city. Although not openly mentioned in the film, Azem is also an early portrayal of an idealized Kurdish male identity. This film also portrays the reunion of two old friends, however, this time by totally different intentions.
We notice many negative changes in society and see that the real bad guys are still out of our reach. This film marks the rebirth of Turkish Cinema after many years of silence. Seeing these two successful productions, which appealed to mass audiences at their time, will be an absolute treat for everyone.
Male directors, especially, have circled around this issue; sometimes opportunistically and other times mercifully. Woman trouble is both titillating and heart-wrenching. Aysel stars Cahide Sonku, the only blonde star at the time, the Marlene Dietrich of Turkish cinema, whose role as the titular character at the mercy of the men in her village brought her huge success.
The film not only includes observations on woman trouble, but also polarities such as landlords vs. The story chronicles the last days of Emine who is exiled for prostitution to a remote town in Anatolia during the final years of the Ottoman Empire. A busload of men with thick mustaches, wearing their only jackets and shoes, their last pennies in their pockets and holding on to many hopes, pose for the camera as they stand in front of the bus at the rest stop. Press the button and receive the picture.
Although, their stories are about very different ro, they have more in common than meets the eye. They curiously watch erotic films and talk about the importance of not indulging women. Men in uniforms stop them and ask for their papers. They interfere with where they can go and where they can stop. Where do they belong to?
The uncertainties, expectations, hopes, dreams, and fears are completely different yet very much alike. These films portray two stark and equally striking journeys. The look of realisation that appears on the faces of young men, who shoot at each other, when they figure out that they are both tarred with the same brush is unforgettable, so is the expression on the faces who are lost while running from the police in a city with grand squares and blonde people.
The overriding theme in the film is rural to urban immigration. Janitors, street vendors, cleaners, and garbage men who represent the lowest class of municipal employees… They are the new residents of the city. Yet, they have no qualms about proceeding with aristocratic arrogance and bossiness. As a matter of fact, social classes are unimportant. But underneath, the existence of a social system—disguised as protectionism—which hinders the formation of the individual, who is shaped through family ties and crucial for a healthy commune, is detectable.
If cinema is a shadow-show screen, it has to talk about the meaninglessness of the real world governed by the rules laid down by grown-ups. Who can do this better than children? The oppression and abuse by her retired sergeant stepfather has turned her life into a prison, but nobody believes her. Upon their first meeting, his aunt invites him not only into a play world, but also to an alliance against the authority in the house.Hot blonde at fatih and whiskey saturday night
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33rd Istanbul Film Festival