DVD Bir Avuç Deniz

DVD Bir Avuç Deniz
DVD Bir Avuç Deniz
Rating: 4.5
Genres: Drama
Director: Leyla Yilmaz
Writers: Leyla Yilmaz
Stars: Engin Altan Düzyatan, Berrak Tüzünataç, Ayda Aksel
Storyline
Details
Details:
Country: Turkey
Release Date: 11 March 2011 (Turkey)

4 Comments

  1. It was the first time i have ever seen such a tough criticism of bourgeoisie in Turkish Cinema. It reminds me Claude Chabrol's movies.This film tries to lifts the veil from a group of people who are beautiful, distinguished, elegant and it makes us to see what they really hide under that veil. I think the first episode is very slow it is one of the most important problem of the film . Ayda Aksel, Engin Altan Duzyatan, Berrak Tuzunatac are fantastic in the movie. Especially Berrak Tuzunatac's performance is surprising to me. Also Zeynep Ozder, Tugrul Tulek are great! I think it is really brave trying for a first movie.

  2. It was a great shock for me. Director plays our prejudices perfectly. It's like a peaceful, modest song. You can't love any character. Mert is a kind of modern times anti-hero. He is lying every single time and every people around him even yourself. It is very brave movie to talk about love between mother and son. Especially "the mother" is became to symbol of capitalism and holly property. Actually explaining is not easy like all difficult scripts. And also, it is a funny experience to understand "secret charm of Turkish Bourgeoise's" After three days I still thinking some dialogs very ironic behaviors… And I think it's big success for a first movie.

  3. It came up with a question confused us all. "Are you the sea or the port?" a question that we have to read between the lines to see what lies beneath. Are we the sea or a port? If we have to be one of them which one would we be? The movie stands as the very first and precious work of Leyla Yilmaz.

    It's a story of a man, and two women; but before all else it's the story of the sea. We are no longer being questioned on being a sea or a port, now it's time to stay alive on that mighty floating sea. Who knows? Maybe to reach a port or another sea… Are we destined to keep living or are we prisoned in our own chosen "freedom"; both assumptions leads us to the same place; "what is freedom?" is one of those questions Leyla Yilmaz wants us to think about…

    While we are being charmed by the power of bourgeoisie; we come up meeting a girl named Deniz. The first time we see this girl, she tells things that we should all stop and think of our purpose of existence. She says, she does not own a home, nor a car, and no route to follow in life; we begin to think that none of us are capable to own anything in life; the thing you expect to be the owner, owns you back. We limit our lives with such stuff that capitalism itself serves us to own. And what owns us back is "capitalism" itself. Idea reminds me Jean Baudrillard's "la society De consummation" and ideology of the movie "Fight Club" of course.

    The word "freedom" begins to seem like a decorated Christmas tree that is sold just to "stare" in the words of Deniz. Deniz becomes the name of revolution inside this world of bourgeoisie. A rich man named Mert from a rich family falls in love with Deniz and maybe more with her opinions. But this relationship between this two different life-styled lovers comes up to be a conflict between Deniz and Mert's mother. The mother is like a "dictator" as her own son calls her too. She never likes the girl. It's like watching the war between fascism and socialism on the faces of those two women.

    Socialism (Deniz) can no longer stands out against the very villainous games of fascism (The Mother) and collapses… After the death of that "1" socialist, socialism begins to shine on the face of a rich man (Mert) at the end of the movie…

    The movie mostly reminded me Woody Allen's "Match Point" and sometimes Rainer Werner Fassbinder's "Faustrecht Der Freiheit". And in the closing credits we see the names Gilles Deluze and Yunus Emre; that is something notable too I guess.

  4. In the age of the so-called coming back of the Turkish cinema when several „auteurs" tend to rely on recycling the (fabricated) „mystique" of the countryside or on heartrending, overdone tales of misery, Leyla Yılmaz proved that she had the guts to direct her lens into the wanton lives of the creme-de-la-creme and to sculpture out a caustic story.

    This is no regurgitating of any „new art-house" formula. „Bir Avuc Deniz" does not only question the „discreet charm of the bourgeoisie" but also the the-name-of-the-mother which seems to lurk behind the shadows of every „Mediterranean" (read: Eastern) culture. She dares to explore the collective psyche that plagues us with hordes of immature, childish, incapable men and the grotesquerie that is at the heart of their frantic pursuit of happiness.

    Such an attempt is worth a thousand stories of rustic romanticism and the film's subversive courage can send us back to reread what we think we already knew.

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