#Bennu Yildirimlar

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The Wild Pear Tree (Nuri Bilge Ceylan, 2018)

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The Wild Pear Tree (Nuri Bilge Ceylan, 2018)

[thelowdownunder]

MIFF Review: The Wild Pear Tree (Ahlat Ağacı)

MIFF Review: The Wild Pear Tree (Ahlat Ağacı)

Nuri Bilge Ceylan (Winter Sleep, Once Upon a Time in Anatolia) delivers his latest 188 minute opus in the form of The Wild Pear Tree(Ahlat Ağacı). Utilising the focus of a lower class family and their returning son as a springboard to delve into philosophical debates around life, religion, fallibility, literature, and modern day existence in Turkey, it’s a deceptively small scale film with big…

[arsphotographica]

[istandistmag]

12. Gece – Tiyatro

Shakespeare’in en sevilen komedilerinden biri olan 12. Gece ‘de, ikiz kardeşler Viola ve Sebastian, bir gemi kazasından sonra, birbirlerini öldü sanıp ayrı düşerler. Viola, Illyria dükü Orsino’nun hizmetine girebilmek için erkek kılığına girer. Orsino adına güzel Olivia’ya kur yapmakla görevlendirilir. Olivia ise kardeşinin ölümünden sonra yastadır ve ayağına gelen herkesi geri çevirmektedir, ta ki şimdi erkek kılığındaki Viola’ya aşık olana dek. Bu sırada, Olivia’nın dayısı Tobi, tutucu hizmetkar Malvolio’ya şamatalı bir oyun oynarak, bu cümbüşlü kimlik yanılması ve karşılıksız aşk hikayesini iyice kızıştırır.

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  YAZAN

: WILLIAM SHAKESPEARE

ÇEVİREN

: ZEYNEP AVCI

YÖNETEN

: SERDAR BİLİŞ

MÜZİK

: ÇİĞDEM ERKEN

SAHNE VE KOSTÜM TASARIMI

: GAMZE KUŞ

IŞIK VE VİDEO TASARIMI

: CEM YILMAZER

HAREKET YÖNETİMİ

: CANDAŞ BAŞ

EFEKT TASARIM

: GÖKÇE SELİM / SERKAN YAVŞAN

SES ÇALIŞTIRICI

: SUSAN MAIN

YÖNETMEN YARDIMCILARI

: BERK SAMUR, DOĞAN ŞİRİN, DOLUNAY PİRCİOĞLU

SÜRE

: 100 dk. / Tek Perde

OYUNCULAR

: BENNU YILDIRIMLAR, BERK SAMUR, DOĞAN ŞİRİN, ERKAN SEVER, ERSİN UMULU, EYLÜL SOĞUKÇAY,HALUK LEVENT ÖKTEM, İSMET ŞAHİN, KUBİLAY PENBEKLİOĞLU, MANA ALKOY, ÖZGE ÖZDER, PINAR AYGÜN,SEDA FETTAHOĞLU, SENAN KARA TUTUMLUER, TOLGA YETER

The post 12. Gece – Tiyatro appeared first on Şehri Keşfet & Explore the City.

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[pigballoon]

Ahlat Agaci

(The Wild Pear Tree)

(Nuri Bilge Ceylan, 2018)

Following a similar formula to his Palme D'Or winning Winter Sleep, Ceylan returns with another blend of the intimate and the epic, almost more novel like in approach than cinematic. A small character driven story with a handful of characters told over 3 hours, driven along by long conversational scenes. If you found that previous effort a chore then you may feel the same about this, but if you enjoyed luxuriating in the experience that movie provided then this one with its sleepy rural Turkish climes replicates a lot of that same charm.

It's a less bombastic movie in a lot of ways, less of the conversations turn into full blown arguments, though a dysfunctional family once again drives the movie along, the troublesome father played with brilliantly sort of intense but totally low key energy by the wonderful Murat Cemcir providing many of the movies highlights in his verbal sparring sessions with his son returning home from studying to the town he already thought he had escaped. In said role, the central one in the movie, Dogu Demirkol is terrific. This is no dime a dozen lead character, just as with Winter Sleep there are plenty of pretty monstrous qualities lurking beneath the surface of the movies primary player, proving a dream for any actor to play. Demirkol brilliantly embodies Sinan's frustrations as they evolve across the course of the movie from a more simple frustration with the return home, and desire to make it big, blossoming from this small world, into greater frustrations as a lack of success in his endeavours proves tough to come by, and he begins to take it out more openly on those around him.

The movie is almost entirely his, with the aforementioned Cemcir getting the only other really interesting, significant role, though in isolation Hazar Erguclu and Serkan Keskin also help provide some of the movies strongest moments in their scenes. The former stoking the heart, providing the movie with its most sensual and probably heartstring tugging moments, the former stoking the brain, and bringing to passionate life the intellectual musings of the movie.

That latter scene might be the best moment in The Wild Pear Tree, as Demirkol's Sirnan dons a mask of civility as he goes toe to toe with an already established and successful author. The scene is like one of those from a novel where narrative proceedings sort of grind to a halt as through his characters the author muses on more complex thematic concerns in more straightforward conversational manner. Beyond that deeper exploration the scene works in more indirect ways as an examination of the frustrations of Sirnan, as he plays a character, attempting to pull a veil over his true feelings, but being found out as the argument proceeds. It's a brilliantly, multi layered scene that explores ideas and evolves understanding of character.

There are other such asides, most notably one late on that seems to fit less comfortably into proceedings with two Imams, musing on belief, morality, and truth, but the majority of the movies best scenes for me are the familial ones between father and son, son and mother, also strongly played (but less interestingly written) by Bennu Yildirimlar.

This fact, that the familial sequences are the real driving force of the movie leads to my main issue with the film. The best stuff in Ceylan's latest is tremendous, and the heart and soul of what he's exploring, what he’s getting at is certainly not subtle, but very effectively dealt with. It just seems to me that it goes on a little too long, and there is stuff in here less essential to the heart and soul of the movie really working. A key difference that I noticed between this and Winter Sleep was that the scenes in that movie felt longer, there were fewer, longer sequences, it was a lot like a play in that way, where as this one generally features (comparatively) shorter scenes with the few already touched on exceptions, and so given it follows that generally more traditional structure it is easier to see how it could have been trimmed of the excess and whittled down to the essentials. It's another aspect of the film that calls to mind literature rather than film, it reminds me of all the people that read Les Miserables who didn’t want to read essays on the Paris sewer system or the battle of Waterloo, here too I feel like Ceylan could have excised some of what he has on his hands here without losing the core of the story, the exploration of guilt, and the generation to generation evolution of familial relations.

That's ultimately what is most important here, beyond religion, and literature, and the desire to make it big, it is a family story, a sort of coming of age tale dealing less with the escape from adolescence, rather the more bitter blossoming of less tasteful fruit as the realities of true adulthood replace more youthful, idealistic dreams.

[tahirbahriyeldan-blog]

ONLAR BİZDEN

BİRİLERİYDİ!

Şevket Altuğ..

O ‘Süper Baba’nın unutulmazlarından..

Hayranları, “Neden kendini seyirciden saklıyorsun, sizi neden göremiyoruz” diye sormuşlar. Usta sanatçının yanıtı ders gibi:

“Türk toplumunun değerleri değişti!.

Türk toplumuna sunulan işlerin içerikleri değişti. Yani ben şu andaki içeriklerle hiçbir dizinin içinde olamam. Eleştiri olarak kabul etsinler, biraz da yaşlılığıma versinler...

Bütün yapılan işlerde tabanca, tüfek, millet birbirini öldürüyor.

Biz yaptığımız işlerde topluma sevgiyi, hoşgörüyü, toleransı, birlikte yaşamayı, dayanışmayı öğretmeye çalıştık. Böyle bir senaryo ile karşılaşırsam yaşıma rağmen hâlâ oynayabilirim. Ama karşılaşacağımı da pek zannetmiyorum”

... Bir bugünkü dizilere bakın..

Şiddet, nefret, entrika, öldürme, aldatma..

Bir de geçmişin, “Süper Baba”, “İkinci Bahar”, “Mahallenin Muhtarları”, “Bizimkiler”, “Kaynanalar”, “Perihan Abla” dizilerine..

Tüm karakterler, "Bizden" birileriydi.. Ailemizden, akrabalarımızdan, komşularımızdan birileriydi. “Biz”i anlatırdı, “Biz”den birileriydi.. İlişkiler samimiydi, candandı, naifti, ailenin ne kadar önemli olduğunu anlatırlardı, çoluk çocuk izlenirlerdi. İnsani ilişkilerin, yardımlaşmanın önemini anlatırlardı.

Adı üzerinde; “Bizimkiler”di..

Tüm değerlerle birlikte onları da kaybettik..

Erdal NURAL

. Fotoğraf:

Şevket ALTUĞ-Bennu YILDIRIMLAR

‘Süper Baba’ dizisinden

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The Wild Pear Tree (Nuri Bilge Ceylan, 2018)

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'El peral salvaje': La áspera estela del legado

CRÍTICA Crítica de 'El peral salvaje', dirigida y coescrita por Nuri Bilge Ceylan. Con Dogu Dermikol, Murat Cemcir, Bennu Yildirimlar y Asena Keskinci. Presentada en la Selección Oficial del 71º Festival de Cannes. 'El peral salvaje': La áspera estela del legado from eCartelera https://ift.tt/2YoMopd via IFTTT

[sserpicko]

‘The Wild Pear Tree’: A father-son drama

Early on in “The Wild Pear Tree,” a rich and ruminative new movie from the Turkish writer-director Nuri Bilge Ceylan, there is a bracingly sharp, infuriating exchange — a small masterpiece of irritation. In the coastal Turkish town of Çanakkale, a recent university graduate and aspiring novelist named Sinan (Aydin Dogu Demirkol) enters a bookshop and strikes up a conversation with Suleyman (Serkan Keskin), whom he recognizes as a popular local author.

The older writer cautiously indulges the younger one’s questions. But after a few minutes of listening to what Sinan has to say — backhanded compliments, self-flattering presumptions and callow, high-minded jabs at the temperament of the artist and the state of modern literature — Suleyman decides he’s had enough: “There’s just one reality I’ve been aware of the last half-hour,” he says, interrupting Sinan’s insufferable verbal drip. “The searing pain in my legs and sneaky pain in my neck, just waiting to become a killer migraine.”

The viewer may feel a twinge of sympathy. Since his 1997 debut feature, “The Town,” Ceylan has steadily become one of the world’s most renowned cinematic auteurs. He is a sharp, sympathetic critic of the ennui and malaise that afflict wide swaths of Turkey’s contemporary middle class — a subject that he tackles with such disregard for the usual narrative niceties, and such subtleties of tone and image, as to risk the audience’s impatience, even boredom. I mean that as high praise.

Ceylan’s crowning achievement, “Once Upon a Time in Anatolia” (2011), was a glumly meditative police procedural that, by the end, felt like nothing short of an autopsy on the human condition. The director won the Palme d’Or at Cannes for his next film, “Winter Sleep” (2014), a 196-minute character study filled with imposing landscapes and even more imposing reams of dialogue. Like one of his aesthetic inspirations, Andrei Tarkovsky, Ceylan makes movies that can feel as cold, slow-moving and monumental as a glacier. He is devoted to the principle that a picture sometimes has to go nowhere in particular to arrive at someplace interesting.

“The Wild Pear Tree” persists stubbornly and honorably in this tradition. At just over three hours, the movie is undeniably long, talky and dense, but it is never uninteresting. You might call it slow too, though at the risk of mischaracterizing the speed of its verbiage and the dizzying complexity of its ideas. Sinan, the protagonist, may be naive and arrogant, but he also ponders the kinds of questions — What should the role of the artist in society be? How does one make art in a world with seemingly no use for it? — that Ceylan wouldn’t mock if he didn’t also take seriously.

The story unfolds during a frustrating transitional period in Sinan’s post-graduate life. He has returned from Çanakkale to his family’s home, where he tries in vain to secure funding for his book and stave off an unexciting future as a schoolteacher. His father, Idris (an excellent Murat Cemcir), is a teacher himself, which may account for Sinan’s lack of enthusiasm. Good-natured and rakishly charming, Idris is also a wildly irresponsible man who has spent years gambling away his family’s savings and good reputation.

Idris’ recklessness has alienated his long-suffering wife, Asuman (Bennu Yildirimlar), and their teenage daughter, Yasemin (Asena Keskinci), both of whom seek escape by constantly watching television. Sinan, for his part, takes refuge in his deep love for literature, a love that he shares with his creator and which propels him and the movie onward.

“The Wild Pear Tree” is the title of the book Sinan is writing, unpromisingly billed as an “auto-fiction meta-novel,” which will almost certainly prove too cryptic and singular for mass consumption. Some of the movie’s most dryly funny scenes find Sinan approaching various local officials, hoping that one of them will finance his literary project. At one point, he gets into an argument with someone who wonders why he doesn’t write about the historic battles of Troy and Gallipoli, whose martyrs are now buried in Çanakkale’s war cemetery. Sinan, like Ceylan, is interested in quieter dramas and subtler truths.

But he is also, in many ways, his own worst enemy. Demirkol, an engaging screen presence, invests this intellectually ambitious but physically loutish young man with a kind of negative charisma. “The Wild Pear Tree” unfolds as a series of conversations — long, flowing, sharply sculpted and vividly performed — in which Sinan finds himself sparring with old friends and new acquaintances, each time exposing a thin but unmistakable vein of hostility.

A brief, bittersweet reunion with a soon-to-be-married ex-girlfriend, Hatice (Hazar Ergüçlü), coaxes forth the movie’s most lyrical sequence: a shot of bright autumn leaves that feels like a rush of blood coursing through the crisp, muted tones of Gökhan Tiryaki’s cinematography. You hear enough from Hatice, and learn enough about the fate that awaits her and other young women in her position, to wish that the movie had granted her even more of a voice.

Later, you also hear from two imams (Akin Aksu and Öner Erkan), one staunchly traditional and the other more open to social and doctrinal change. Their debate with the secular Sinan unfurls over what feels like a small eternity, much of it shot as the three men walk down a hillside. It may seem like a deviation, but it isn’t: Religion, no less than literature or politics or history, offers another cultural and intellectual limbo, a zone of questions without answers.

In slowly tracing a circle around these and other ideas, the movie keeps returning to Idris. As the Variety critic Jay Weissberg astutely noted when “The Wild Pear Tree” premiered at Cannes last May, the influence of Eugene O’Neill and Arthur Miller — an intriguing counterpoint to the long-running Chekhovian streak in Ceylan’s dramaturgy — looms heavily over this story of a father and son at odds.

But Cemcir’s performance, suffused with a kind of wily, defiant grace, has an emotional depth that makes this movie’s spirit not just heavy and somber, but also curiously forgiving. It’s as if Ceylan knows that while the world may judge us all harshly, we don’t have to respond in kind.

————

‘The Wild Pear Tree’ Not rated

Turkish with English subtitles

Running time: 3 hours, 8 minutes

Playing: Laemmle’s Royal Theatre, West Los Angeles

Source: latimes

By JUSTIN CHANG

[mrmichaelchadler]

#344 December 25, 2018

Matt writes: In this final Ebert Club newsletter of the year, released to you on Christmas Day, we are sharing the RogerEbert.com staff's picks for the Top 10 Films of 2018. You can find each of the writer's lists (including the one penned by your's truly) by clicking here. As for the list comprised of films selected cumulatively by the site's regular roster of critics, Alfonso Cuarón's "Roma" led the pack, crowned as the best film released over the past twelve months. It was followed by Joel & Ethan Coen's "The Ballad of Buster Scruggs," Boots Riley's "Sorry to Bother You," Paul Schrader's "First Reformed," Barry Jenkins' "If Beale Street Could Talk," Sandi Tan's "Shirkers," Alex Garland's "Annihilation," Spike Lee's "BlacKkKlansman," Lee Chang-dong's "Burning" and Paweł Pawlikowski's "Cold War." To read the critics' thoughts on each of the aforementioned choices, click here.

Trailers

Where'd You Go, Bernadette? (2019). Directed by Richard Linklater. Written by Richard Linklater, Holly Gent and Vincent Palmo Jr. (based on the novel by Maria Semple). Starring Cate Blanchett, Judy Greer, Kristen Wiig. Synopsis: After her anxiety-ridden mother disappears, 15-year-old Bee does everything she can to track her down, discovering her troubled past in the process. Opens in US theaters on March 22nd, 2019.

Rendezvous in Chicago (2018). Written and directed by Michael Glover Smith. Starring Clare Cooney, Dave McNulty, Shane Simmons. Synopsis: A short comedic feature film comprised of three vignettes corresponding to the beginning, middle and end stages of a relationship. US release date is TBA.

Piercing (2019). Written and directed by Nicolas Pesce (based on the novel by Ryû Murakami). Starring Mia Wasikowska, Christopher Abbott, Laia Costa. Synopsis: A man kisses his wife and baby goodbye and seemingly heads away on business, with a plan to check into a hotel, call an escort service, and kill an unsuspecting prostitute. Opens in US theaters on February 1st, 2019.

Adult Life Skills (2019). Written and directed by Rachel Tunnard. Starring Jodie Whittaker, Lorraine Ashbourne, Brett Goldstein. Synopsis: Anna is stuck: she's approaching 30, living like a hermit in her mum's garden shed and wondering why the suffragettes ever bothered. She spends her days making videos using her thumbs as actors - thumbs that bicker about things like whether Yogi Bear is a moral or existential nihilist. Opens in US theaters on January 18th, 2019.

Mapplethorpe (2019). Directed by Ondi Timoner. Written by Ondi Timoner and Mikko Alanne. Starring Matt Smith, Hari Nef, John Benjamin Hickey. Synopsis: A look at the life of photographer Robert Mapplethorpe from his rise to fame in the 1970s to his untimely death in 1989. US release date is TBA.

Brexit (2019). Directed by Toby Haynes. Written by James Graham. Starring Benedict Cumberbatch, Rory Kinnear, Liz White. Synopsis: Strategist Dominic Cummings leads a campaign to convince British voters to leave the European Union. Premieres on HBO on January 19th, 2019.

The Wild Pear Tree (2019). Directed by Nuri Bilge Ceylan. Written by Akin Aksu, Ebru Ceylan and Nuri Bilge Ceylan. Starring Dogu Demirkol, Murat Cemcir, Bennu Yildirimlar. Synopsis: An aspiring writer returns to his native village, where his father's debts catch up to him. Opens in US theaters on January 30th, 2019.

The Mustang (2019). Directed by Laure de Clermont-Tonnerre. Written by Laure de Clermont-Tonnerre, Brock Norman Brock and Mona Fastvold. Starring Matthias Schoenaerts, Connie Britton, Bruce Dern. Synopsis: The story of Roman Coleman, a violent convict who is given the chance to participate in a rehabilitation therapy program involving the training of wild mustangs. Opens in US theaters on March 15th, 2019.

Captive State (2019). Directed by Rupert Wyatt. Written by Rupert Wyatt and Erica Beeney. Starring Ashton Sanders, John Goodman, Vera Farmiga. Synopsis: Set in a Chicago neighborhood nearly a decade after an occupation by an extra-terrestrial force, this film explores the lives on both sides of the conflict - the collaborators and dissidents. Opens in US theaters on March 29th, 2019.

Hotel Mumbai (2019). Directed by Anthony Maras. Written by Anthony Maras and John Collee. Starring Dev Patel, Armie Hammer, Jason Isaacs. Synopsis: The true story of the Taj Hotel terrorist attack in Mumbai. Hotel staff risk their lives to keep everyone safe as people make unthinkable sacrifices to protect themselves and their families. Opens in US theaters on March 29th, 2019.

Triple Frontier (2019). Directed by J.C. Chandor. Written by J.C. Chandor and Mark Boal. Starring Ben Affleck, Pedro Pascal, Charlie Hunnam. Synopsis: Five former Special Forces operatives reunite to plan a heist in a sparsely populated multi-border zone of South America. US release date is TBA.

Brightburn (2019). Directed by David Yarovesky. Written by Brian Gunn and Mark Gunn. Starring Elizabeth Banks, Meredith Hagner, David Denman. Synopsis: What if a child from another world crash-landed on Earth, but instead of becoming a hero to mankind, he proved to be something far more sinister? Opens in US theaters on May 24th, 2019.

Hellboy (2019). Directed by Neil Marshall. Written by Andrew Cosby (based on the comic books by Mike Mignola). Starring David Harbour, Milla Jovovich, Ian McShane. Synopsis: Caught between the worlds of the supernatural and human, Hellboy battles an ancient sorceress bent on revenge. Opens in US theaters on April 12th, 2019.

Breakthrough (2019). Directed by Roxann Dawson. Written by Grant Nieporte. Starring Topher Grace, Chrissy Metz, Rebecca Staab. Synopsis: When he was 14, Smith drowned in Lake St. Louis and was dead for nearly an hour. According to reports at the time, CPR was performed 27 minutes to no avail. Then the youth's mother, Joyce Smith, entered the room, praying loudly. Suddenly, there was a pulse, and Smith came around. Opens in US theaters on April 17th, 2019.

King of Thieves (2019). Directed by James Marsh. Written by Joe Penhall (based on the magazine article by Mark Seal). Starring Charlie Cox, Michael Caine, Michael Gambon. Synopsis: A true crime film about a crew of retired crooks who pull off a major heist in London's jewelry district. What starts off as their last criminal hurrah quickly turns into a brutal nightmare due to greed. Based on infamous true events. Opens in US theaters on January 25th, 2019.

Shaun the Sheep Movie: Farmageddon (2019). Directed by Will Becher and Richard Phelan. Written by Jon Brown and Mark Burton (based on the characters by Nick Park). Starring Justin Fletcher. Synopsis: When an alien with amazing powers crash-lands near Mossy Bottom Farm, Shaun the Sheep goes on a mission to shepherd the intergalactic visitor home before a sinister organization can capture her. US release date is TBA.

Bathtubs Over Broadway (2018). Directed by Dava Whisenant. Synopsis: A Late Night comedy writer stumbles upon a hilarious, hidden world of entertainment and finds an unexpected connection to his fellow man. Now playing in US theaters.

Downton Abbey (2019). Directed by Michael Engler (based on the characters by Julian Fellowes). Starring Maggie Smith, Hugh Bonneville, Elizabeth McGovern. Synopsis: The film version of the popular British television show. Opens in US theaters on September 20th, 2019.

Polish Oscar contender "Cold War" 

Matt writes: RogerEbert.com's comprehensive coverage of "Cold War," the latest masterwork from Oscar-winning "Ida" director Paweł Pawlikowski, includes a four-star review by Tomris Laffly, my own in-depth interview with Pawlikowski and a video interview with the filmmaker conducted by Scout Tafoya.

Great Performances of 2018

Matt writes: In this annual round-up of great performances delivered over the last twelve months, various writers at RogerEbert.com single out major talents worthy of recognition during awards season, such as Helena Howard ("Madeline's Madeline"), John Cho ("Searching"), Elsie Fisher ("Eighth Grade"), Sakura Andô ("Shoplifters"), Thomasin Harcourt McKenzie ("Leave No Trace"), Raffey Cassidy ("Vox Lux") and many more. To read the full list, click here.

Free Movies

The Judy Garland Christmas Show (1963). Directed by Dean Whitmore. Written by John Aylesworth, John Bradford, Frank Peppiatt. Starring Judy Garland, Liza Minnelli, Lorna Luft. Synopsis: The holiday special of "The Judy Garland Show," featuring guests Mel Torme, Jack Jones, Tracey Everitt and more.

Watch "The Judy Garland Christmas Show"

Frosty the Snowman (1969). Directed by Jules Bass and Arthur Rankin Jr.. Written by Romeo Muller. Starring Jackie Vernon, Billy De Wolfe, Jimmy Durante. Synopsis: A living snowman and a little girl struggle to elude a greedy magician who is after the snowman's magic hat.

Watch "Frosty the Snowman"

A Christmas Carol (1984). Directed by Clive Donner. Written by Roger O. Hirson (based on the novel by Charles Dickens). Starring George C. Scott, Frank Finlay, Angela Pleasence. Synopsis: An old bitter miser who rationalizes his uncaring nature learns real compassion when three spirits visit him on Christmas Eve.

Watch "A Christmas Carol"

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