Saç
Saç in the 63rd Locarno Film Festival shown.
Content:
stands all day long Hamdi ( Ayberk Pekcan ) in his shop in a shabby neighborhood Istanbul. Throughout the room busts on shelves on the walls: Hamdi sells wigs. He speaks little, smokes all the time and is very lonely. to live a long time he has not - he has cancer - and would go before his death more than happy times to Brazil, he knows of a billboard outside his shop.
One day, Meryem ( Nazan Kesal ) to it in the store and would like to sell him her hair. When she solves her headscarf, Hamdi amazed not bad: Her black hair reached down over the hips. Slowly, it truncates Hamdi. When leaving Meryem his shop, he follows her. It turns out that in a Einkaufszentrum arbeitet und ein distanziertes Verhältnis zu ihrem Mann ( Riza Akin ) hat. Hamdi kann nicht mehr von ihr ablassen und folgt Meryem Tag und Nacht. Die Situation wird immer bizarrer.
Kritik:
Saç ist der vierte Spielfilm des Türken Tayfun Pirselimoglu, der sowohl Regie führte als auch das Drehbuch schrieb. Dass er zuvor in Wien Malerei studiert hatte, merkt man auch seinem neusten Werk an. Schliesslich glänzt Saç in erster Linie durch seine Bilder, die allesamt perfekt komponiert, aufwändig ausgeleuchtet und mit gezielter Symbolik angereichert sind. Mit seiner eindringlichen Bildsprache gelingt es Pirselimoglu, ein Istanbul voller Melancholie and loneliness present. The characters always return to the same deserted places and also some adjustment coming back. In this case the action is staged very static, and consequently also the camera barely moves.
not enough to move the characters in the film very slowly and deliberately, they hardly talk. Then, when times held a dialogue, it is just and necessary limits again. Rather, these figures seem to gaze to communicate, while their bodies are like stuck between the walls and walls. More unexpected outbreak of violence comes at the short end. About the inner lives of the protagonists, we learn, but even in this little scene, or Only by implication suggests. In general, it remains in the dark as to what is now Hamdi's plan or whether he has any. Almost floating as he moves through the city, said his shop and the view from the window marked the starting point.
Maybe is the recurrent image of Hamdi, as he alone in a room full of "dead", staring at him heads, is dar. a metaphor for isolation of the individual in modern Turkish society because no matter whether the characters are at home in the dark living room or on the bus full of people are, they're always lonely and isolated. Stressing Pirselimoglu contrast between the modern, fast paced city life and the slow, Islamic Tradition. On the visual level that is sent illustrated by seeing thunder past about once in a deserted, barren village in the background of the highway.
All well and good, but not change the fact that the film drags. It is simply not enough. Pirselimoglu devotes much time to develop the plot, without really giving the audience a reason to empathize with Hamdi. Only toward the end of something dynamic is in the matter, and the final is both extremely bizarre and quite unsatisfactory.
Saç photographed is great, but for no more than art-house fans really interesting. A real festival film plane.
was about 6 out of 10
0 comments:
Post a Comment