Wrong Rosary|Uzak İhtimal Images

Review | Wrong Rosary

Rotterdam
Wrong Rosary| Uzak ihtimal (Turkey)
By JAY WEISSBERG | Variety

A Hokusfokus Film production. Produced by Tulin Cetinkol Soyarslan, Ismail Kilicarslan, Tarik Tufan, Mahmut Fazil Coskun.
Directed by Mahmut Fazil Coskun. Screenplay, Tarik Tufan, Gorkem Yeltan.

With: Nadir Saribacak, Gorkem Yeltan, Ersan Uysal.

The plot sounds like something out of a Harold Robbins novel, but Mahmut Fazil Coskun carefully eliminates any hint of melodrama with the spare, measured, observational visuals of his debut, "Wrong Rosary." Set in an Istanbul of windy streets, antiquarian bookstores and seafront cafes, pic underplays all the elements of the impossible love between a young muezzin and a sheltered woman raised to be a nun, making the city itself a character through which the protags communicate. More incisive personalities would increase sympathies; nevertheless, fests will genuflect, especially after the pic's Tiger win at Rotterdam.

Fresh from Ankara, Musa (Nadir Saribacak) arrives in the Galata section of Istanbul to take up his first job as a muezzin, leading the calls to prayer at a small mosque. Shy and inexperienced but reasonably educated, he moves into an apartment that comes with the job, next door to an elderly, bedridden woman looked after by painfully retiring caretaker Clara (Gorkem Yeltan). Musa timidly watches the excessively reserved Clara, who barely looks at him, let alone speaks.

He follows her to the local church, where he encounters Yakup (Ersan Uysal), an old book dealer with his own, undefined interest in Clara. The two men coincidentally strike up a conversation (pic has a few too many coincidences), and Yakup hires Musa part-time to help him with Ottoman-era tomes. Gradually, Clara's confidence is won, and the hesitant glances she and Musa exchange reveal an emotion stronger than mere friendship.

Pic's title comes from an early, amusing scene: Clara drops her rosary, Musa picks it up, but before returning it, he goes to work at the mosque. During services, his hands automatically go to his prayer beads; rather than fingering his own, he mistakenly uses the "wrong" rosary. Only when he drops it off in her collection plate at church does she finally speak. The script takes this near-pathological mousiness too far, and the pic's greatest flaw is the unmodulated shyness exhibited by Clara and, to a lesser degree, Musa.

What saves it all is Coskun's subtle use of Galata's interiors and exteriors, providing the characters with quiet conduits and safe havens from the outside world. Little, however, is made of the religious institutions, and Musa's job as muezzin is all but forgotten halfway through. Perfs match the tamped-down quality of the visuals, and if Yeltan too often looks like a fawn caught in the headlights, presumably that's exactly how she's been directed to behave.

Refik Cakar's camerawork favors an observational, almost voyeuristic distance, with frequent shots from below that amplify the sense of hesitation and restraint. Colors, too, are muted, diffused like the emotions to guarantee no meller excess.

Camera (color), Refik Cakar; editor, Cicek Kahraman; music, Rahman Altin; production designer, Selda Cicek; costume designer, Hale Issever; sound (Dolby Digital), Duygu Celikkol, Murat Celikkol, Nurkut Ozdemir; assistant director, Ayhan Ozen; casting, Harika Uygur, Family Ajans. Reviewed at Rotterdam Film Festival (competing), Jan. 29, 2009. Running time: 90 MIN.

Wrong Rosary | Uzak Ihtimal 2009

Directed by: Mahmut Fazil Coskun[1] Produced by:Tülin Soyarslan Screenplay: Ismail Kilicarslan, Gorkem Yeltan, Tarik Tufan, Bektaş Topaloğlu Director of Photography: Refik Cakar Edited by: Çiçek Kahraman Art Direction: Selda Çiçek Music: Rahman Altın Cast: Nadir Saribacak, Gorkem Yeltan, Ersan Uysal; Production & Sales: Hokus Fokus, mahmutfazil@gmail.com, +90 533 810 57 97

Mahmut Fazil Coskun’s Istanbul-set Wrong Rosary, a muezzin (the person who leads the call to the mosque’s Friday service) falls in love with his neighbor, who happens to be a Catholic nurse.
[1] Mahmut Fazil COSKUN (1973, Turkey) attended courses at the Bilgi University in Istanbul from 2001 until 2004. Wrong Rosary is his feature début.

From RIFF

"A wonderful atmosphere from Istanbul, where a peculiar love story takes place: muezzin Musa falls for his neighbour, the Catholic nurse Clara. The story gets even more exceptional when Musa meets Yakup, who turns out to be connected with Clara. Different ambiances of a multi-religious and multicultural city.

This is a story of sensuality, love and grief, growing in the anonymity of a big modern city. It takes place in present-day Istanbul, in Galata. Musa is a beginning muezzin who comes to the city for the first time in his life. He is assigned to work in a mosque and receives an apartment. Upon his arrival he meets his next door neighbour Clara, a Catholic nurse. She takes care of the older nurse, Sister Anna. Excitement and a simultaneously warm sensation emerge from this first encounter. In the beginning, the young muezzin is quite hesitant to confess to himself what is actually happening, but as time passes his love for Clara pervades his life. Another storyline emerges when Musa comes across the bibliophile Yakup at the church that Clara attends regularly, and starts working for him. A few surprises and unexpected turns emerge when the lives of the three intersect.

Slow-paced, with a pleasant rhythm and an eye for detail, the film depicts different ambiances of multi-religious Istanbul, within its distinctive spaces and through the stories of a variety of unusual characters. This exceptional début by Mahmut Fazil Coskun is certainly a strong voice amongst the up-and-coming young talents from Turkey. (LC)

Rotterdam 2009 Award for Wrong Rosary|Uzak İhtimal

Mahmut Fazil Coskun with his award (in the middle)

2009 Rotterdam Film Festival: Jan. 21-Feb. 1, 2009 VPRO Tiger Awards: Be Calm and Count to Seven (Aram bash va ta haft beshmar) by Ramtin Lavafipour (Iran), Breathless (Ddongpari) by Yang Ik-June (South Korea) and Wrong Rosary (Uzak ihtimal) by Mahmut Fazil Coskun (Turkey)

During the IFFR 2009 Awards Ceremony on Friday, January 30, 2009 in the Rotterdamse Schouwburg, the winning films of the 38th International Film Festival Rotterdam were announced. The three VPRO Tiger Awards were granted to the Hubert Bals Fund supported film Be Calm and Count to Seven (Aram bash va ta haft beshmar) by Ramtin Lavafipour (Iran), to Breathless (Ddongpari) by Yang Ik-June (South Korea), and to Wrong Rosary (Uzak ihtimal) by Mahmut Fazil Coskun (Turkey).

On Saturday January 31st, 2009 the KPN Audience Award and the Dioraphte Award for Best Hubert Bals Fund Supported Film 2009 will be announced. VPRO Tiger Awards Fourteen films by first or second filmmakers competed in the VPRO Tiger Awards Competition 2009.

The Jury consists visual artist Marlene Dumas (South Africa/The Netherlands), Turkish writer, filmmaker and Jury Chair Yesim Ustaoglu (her Journey To The Sun (1999) and recent Pandora’s Box, both supported by the Hubert Bals Fund, screen in the festival), Mr Park Ki-Yong, Director of the Korean Academy of Arts and Co-Director of the Cinema Digital Seoul Film Festival, Hungarian writer, director and actor Kornél Mundruczó (his Delta screens in the festival) and Kent Jones, Associate Director of Programming Film Society of Lincoln Center, New York.

The jury statements on the VPRO Tiger Award winning Wrong Rosary (Uzak ihtimal) by Mahmut Fazil Coskun (Turkey, 2008) ‘A uniquely creative film of the most eloquent simplicity, a film built from a feeling of immediacy, moment by moment, breath by breath; a film that builds an absolutely unique form of suspense; a film that stays true to itself from beginning to end.’

Each VPRO Tiger Award comes with a prize of Euro 15,000 and guaranteed broadcast by Dutch public television network VPRO.

Rotterdam 2009 |Mahmut Fazıl Coşkun interview

Mahmut Fazıl Coşkun: a new voice in Turkish cinema Turkish cinema kicks off this year’s international adventures with a welcome surprise. Award-winning documentary director Mahmut Fazıl Coşkun’s impressive feature debut “Uzak İhtimal” (Wrong Rosary) is enjoying its world premiere here, at the International Film Festival Rotterdam 2009. What more, Coşkun’s film is among the 14 feature films that are competing for the festival’s top prize, the Tiger award, and it’s the first Turkish entry to be included in the main lineup throughout the 38-year history of the festival. For me, talking to Coşkun in Rotterdam has a special meaning because about seven years ago, we were studying film in the same master’s degree program. Knowing him in this context surely caused us to diverge from the path of the conventional interview -- it takes us about 30 minutes before we can actually stop ourselves from laughing and joking. I realize that there is one thing that strikes me about Coşkun, besides being talented, he was always a very humble, self-effacing and warm person, and it’s rather relieving to see that he hasn’t lost these rare qualities, as sometimes it’s quite difficult to meet someone on the cultural scene who doesn’t have an ego the size of the Hindenburg. In this regard, I am not surprised to see that his cinematic style reflects his distinct type of ease and idiosyncratic humor, without ever becoming superficial. “Wrong Rosary” is the simple story of a fresh-faced muezzin called Musa, appointed to İstanbul’s Galata region, and falls in love with Clara, a reticent and devout Catholic nurse who lives next door. The story might sound like a contemporary version of the TV melodrama “The Thorn Birds,” but do not be fooled. It is simply a contemplative and quiet journey about an impossible love between two very nice people. Big words are not spoken, there is no schmaltzy drama, just the fact that these two people never dare express their adoration for each other. Coşkun’s style is not a judgmental one, and his strange mixture of compassion and humor toward his characters are touching. In one scene, Musa is talking with his superior at the mosque, a wise and pious imam. The imam cheekily probes him over whether he has a love interest. Musa denies it only to get the reply: “Come on, I know you are thinking of a girl. I hope she’s also a believer, because you’ll never get hurt by a believer,” a beautiful line that sums up the irony of the situation. For Coşkun, his film does not have any political undertones and is not predominantly about the unspoken walls between religions. Rather, it is about the very universal situation of humans not being able to fully express themselves and communicate their feelings. We also talk about the process of the production of his film. Turkish filmmaker Mahmut Fazıl Coşkun poses for a portrait at the International Film Festival Rotterdam, where his debut feature premiered this week. How did you get the idea to make this film and how long was the process of getting it off the ground? Two years ago, we had the idea with a writer friend of mine to make a trilogy titled “Three Things” -- which would be about the concepts of love, money and religion. We couldn’t really come up with something that was satisfying. Then I focused on the concept of religion, but in that light, it was to be about impossible love. I’m not a writer, I brought together a group of people (Tarık Tufan, Görkem Yeltan and İsmail Kılıçarslan) who would write the script. Was it easy to gather the funding and get the film rolling? It wasn’t easy. Although we received production support from the Culture and Tourism Ministry, we ran out of money halfway through the production. Luckily, later on, Bank Asya sponsored us so we were able to complete the film; however, I still think it’s very difficult to finance a film in Turkey -- the Culture Ministry is almost the only body that provides funding. And what about the production process? Was it easy to work with the crew? Unfortunately it takes a lot of convincing to put together a cast and crew for feature films. I realize that because so many crew members have such difficult working conditions on the sets of television series where they normally work at, they almost lose their will and spirit when it comes to making movies. It’s very difficult to establish a spirit of camaraderie. On that note, I felt very tired and discouraged once filming was over. But thankfully, we had a great editor on board, Çiçek Kahraman, who really helped us in attaining a satisfying result. What are your main influences? And which Turkish directors do you like? I’m a huge Woody Allen fan. I also admire Semih Kaplanoğlu. What if we asked you to sum up “Wrong Rosary” in just one sentence? You know I wish I could really answer that question, but I really can’t. If I were able to sum everything up in one sentence, I don’t think I would be making films. 30 January 2009, Friday EMINE YILDIRIM ROTTERDAM