UZAK at Film Festival Rotterdam
Turkish moviemaker Nuri Bilge Ceylan personally makes and produces
his films together with family and friends. His movie UZAK
(VER) won the Grand Prix du Jury in Cannes, with the prize for best
actor going collectively to the two main characters, portrayed by
Muzaffer Ozdemir and Mehmet Emin Toprak. UZAK will be shown at the
film festival in Rotterdam and will be released in the Netherlands
on 26 February.
Still from Uzak
Uzak was filmed in wintry Istanbul, in long shots that are often
nearly photographic. A village sleeping in the snow against a hill,
a road leading to the city. A man on his way from the village to
the city. Then a man in his flat, with a hazy woman's figure in
the background that is getting undressed. The first words spoken
in the film come from the answering machine for Mahmut, who lives
in the flat.
Mahmut is a photographer with lost ambitions. His marriage failed.
Now he photographs tiles for advertising folders and sometimes
welcomes a woman for a few hours. His expression is not bitter;
he almost seems at ease with his loneliness.
Cousin Yusuf unexpectedly arrives on Mahmut's doorstep. He wants
to find work at sea now that he has been fired from the factory.
Initially the two men live virtually in ignorance of one another.
At night Mahmut sniffs his cousin's shoes, treats them with a spray
and places them in a cupboard. Yusuf secretly calls his mother
while Mahmut is secretly watching a porn movie. It becomes increasingly
difficult for the men to avoid one another. Mahmut gets caught
in his own mousetrap of glue when Yusuf nearly catches him listening
in on a telephone conversation. Yusuf is even still present when
he leaves one evening at Mahmut's request: beer cans and flowing
ashtrays infuriate Mahmut. Tension rises when Mahmut believes that
Yusuf is responsible for the disappearance of his silver watch.
He even keeps suspecting his cousin after he finds the watch. Yusuf
is clearly insulted. He leaves as unexpectedly as he arrived. The
keys are left hanging on a coat hook, his sleeping bag rolled up
on his bed.
Ceylan's filming technique and storytelling are woven into a beautiful
whole. The scenes do not tell details and keep the viewers at a distance.
Even the two main characters do not converse much. Nevertheless,
much is made clear by Ceylan. At the end, for example, when Mehmet
is sitting on a bench alongside the Bosporus, in the cold and wind.
He stares out over the grey surface of the water for minutes on end.
He is smoking a cigarette from the pack his cousin left behind. He
inhales deeply, forcefully blows the smoke out. To freedom.
Marrigje de Bok