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Le Silence de Lorna / Jean-Pierre and Luc Dardenne

Gorgeous and challenging. Why does the camera seem it is always at the right place, and that every shot is cut at the exact moment? Except Hou, I know few new filmmakers who make me watch so carefully... And all the bullshit about how the Dardennes were realist filmmakers dissipates with this one. This is a climax of formalism, both story-wise (since the story does not make sense) and in its rhythms.

Chelsea on the Rocks / Abel Ferrara

A chaos. A chaos of feelings, thoughts. It is a film that can never be defined. Sidesteps the viewer all the time.

La Fille Coupee en Deux / Claude Chabrol

Surrealism emenates at every shot but it is only in a few that this is made clear.

Bereketli Topraklar Uzerinde / Erden Kıral

Made in 1980, this is not a new film but it was released in Istanbul this year and it should be mentioned. Erden Kıral's editing deserves precious attention from everyone.

Good Films

Vicdan / Erden Kıral

Possibly the best Turkish film-maker at very close to his best. And this time, he seems not so very subtle, which is why many people miss its subtleties. Even the simplest scenes are full of beauty.

Uc Maymun / Nuri Bilge Ceylan

The ambiguousness at the end, the complex state of mind he expresses so masterfully... In this movie, his images became paradoxes to be discovered (not solved). The camera always seems at the right place. The experiments he makes with the HDCAM should be watched carefully by everybody who plans to use the medium. And I admire the under-appreciated sense of humour. I like almost all of his films more than this one, because, here, he seems too conscious of what he's doing. I miss the unassuming beauties of Mayıs Sıkıntısı or İklimler...

BIO-ELECTRIC PATINA / Oliver Hockenhull

Moments of huge, intense beauty. Watching it, I realized I sometimes miss Hockenhull's plays with randomness, and biology.

Science Lab / Eytan İpeker

Alexandra / Alexander Sokurov

I wanted to see it once more but didn't have the chance. It was near the very end of it that in a few shots I felt the cinematic movement was gorgeous in the Fordian sense: Body feeling sensually elated simply by watching movement on the screen. This is very rare in today's cinema so I very much appreciate it. Whether there is more to it than I realize, I do not know.

Tatil Kitabı / Seyfi Teoman


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