Yeşilçam Awards for the year 2009 have been given in İstanbul with a ceremony. The award ceremony was organized in collaboration with the Beyoğlu Municipality and the Turkish Foundation of Cinema and Audiovisual Culture. The Minister of Culture and Tourism Ertuğrul Günay, veteran artists including İzzet Günay, Perihan Savaş, Hülya Koçyiğit, Nebahat Çehre and Selda Alkor as well as many people from the business and media circles attended the ceremony.
"Although it is a very new tradition, the Yeşilçam Awards garner great interest. I dream that this tradition will turn into an international one," said Günay at the opening of the ceremony. He said Istanbul and Turkey were very suitable locations for this dream. "The winners are determined by a large jury. The recent developments in Turkish cinema offer hope for the industry’s future. It now has a respected place in world cinema."
This year’s Yeşilçam Award winners were determined by a 1,500-person jury, which included names from business, culture and media circles.
Nuri Bilge Ceylan’s “Three Monkeys” has put its stamp on the award ceremony which was held Tuesday evening. “Three Monkeys” has been awarded in “Best Film”, “Best Director”, and “Best Story” categories. Hatice Arslan got the “Best Actress” prize with her performance in “Three Monkeys.” Onur Saylak received “Best Actor” prize with his role in the film titled “Autumn.”
Best Director: Nuri Bilge Ceylan
Best Male Actor: Onur Saylak / Sonbahar
Best Female Actor: Hatice Aslan / Üç Maymun
Best Supporting Male Actor: Altan Erkekli / O... Çocukları
Best Supporting Female Actor: Yıldız Kültür / Issız Adam
Turkcell First Film Award: Özcan Alper / Sonbahar
Best Screenplay: Ebru Ceylan, Nuri Bilge Ceylan ve Ercan Kesal / Üç Maymun
Best Film Music: Aria Müzik / Issız Adam
Besy Cinematography: Gökhan Tiryaki / Üç Maymun
Digiturk Young Talent Award: Ahmet Rıfat Şungar / Üç Maymun
Best Film: Üç Maymun / Nuri Bilge Ceylan
Wednesday, March 04, 2009
Tuesday, February 24, 2009
41. SİYAD - TÜRK SİNEMASI ÖDÜLLERİ
41. SİYAD - TÜRK SİNEMASI ÖDÜLLERİ
23.02.2009
EN İYİ FİLM: Sonbahar (Yapımcı: F. Serkan ACAR)
EN İYİ YÖNETİM: Nuri Bilge CEYLAN (Üç Maymun)
CAHİDE SONKU EN İYİ KADIN OYUNCU PERFORMANSI: Hatice ASLAN (Üç Maymun)
EN İYİ ERKEK OYUNCU PERFORMANSI: Onur SAYLAK (Sonbahar)
EN İYİ YARDIMCI KADIN OYUNCU PERFORMANSI: Tülin ÖZEN (Vicdan)
EN İYİ YARDIMCI ERKEK OYUNCU PERFORMANSI: Ahmet Rıfat ŞUNGAR (Üç Maymun)
MAHMUT TALİ ÖNGÖREN EN İYİ SENARYO: Özcan ALPER (Sonbahar)
EN İYİ GÖRÜNTÜ YÖNETİMİ: Feza ÇALDIRAN (Sonbahar)
EN İYİ MÜZİK: Demir DEMİRKAN (Devrim Arabaları)
EN İYİ KURGU: Ayhan ERGÜRSEL, Bora GÖKŞİNGÖL, Nuri Bilge CEYLAN (Üç Maymun)
EN İYİ SANAT YÖNETİMİ: Natali YERES (Rıza)
UMUT VEREN SANATÇI: İnan TEMELKURAN
EN İYİ BELGESEL: Devrimci Gençlik Köprüsü (Yönetmen: Bahriye KABADAYI)
EN İYİ KISA FİLM: Unus Mundus (Yönetmen: Senem TÜZEN)
EN İYİ YABANCI FİLM: Kan Dökülecek (There Will Be Blood)
SİYAD ONUR ÖDÜLÜ: Şener ŞEN
SİYAD TUNCAN OKAN EMEK ÖDÜLÜ: Nijat ÖZÖN
SİYAD - ÖZEL ÖDÜL: Klaus EDER
23.02.2009
EN İYİ FİLM: Sonbahar (Yapımcı: F. Serkan ACAR)
EN İYİ YÖNETİM: Nuri Bilge CEYLAN (Üç Maymun)
CAHİDE SONKU EN İYİ KADIN OYUNCU PERFORMANSI: Hatice ASLAN (Üç Maymun)
EN İYİ ERKEK OYUNCU PERFORMANSI: Onur SAYLAK (Sonbahar)
EN İYİ YARDIMCI KADIN OYUNCU PERFORMANSI: Tülin ÖZEN (Vicdan)
EN İYİ YARDIMCI ERKEK OYUNCU PERFORMANSI: Ahmet Rıfat ŞUNGAR (Üç Maymun)
MAHMUT TALİ ÖNGÖREN EN İYİ SENARYO: Özcan ALPER (Sonbahar)
EN İYİ GÖRÜNTÜ YÖNETİMİ: Feza ÇALDIRAN (Sonbahar)
EN İYİ MÜZİK: Demir DEMİRKAN (Devrim Arabaları)
EN İYİ KURGU: Ayhan ERGÜRSEL, Bora GÖKŞİNGÖL, Nuri Bilge CEYLAN (Üç Maymun)
EN İYİ SANAT YÖNETİMİ: Natali YERES (Rıza)
UMUT VEREN SANATÇI: İnan TEMELKURAN
EN İYİ BELGESEL: Devrimci Gençlik Köprüsü (Yönetmen: Bahriye KABADAYI)
EN İYİ KISA FİLM: Unus Mundus (Yönetmen: Senem TÜZEN)
EN İYİ YABANCI FİLM: Kan Dökülecek (There Will Be Blood)
SİYAD ONUR ÖDÜLÜ: Şener ŞEN
SİYAD TUNCAN OKAN EMEK ÖDÜLÜ: Nijat ÖZÖN
SİYAD - ÖZEL ÖDÜL: Klaus EDER
Alper and Ceylan lead SİYAD awards
Alper and Ceylan lead SİYAD awards
Two much talked about Turkish films of last year, one by newcomer Özcan Alper and another by auteur Nuri Bilge Ceylan, grabbed four awards each at Sunday’s annual Turkish Film Critics Association (SİYAD) Awards.
Alper’s “Sonbahar” (Autumn) won the best picture honor in the 41st SİYAD Awards, handed out Sunday evening at a gala ceremony at the Cemal Reşit Rey (CRR) Concert Hall in İstanbul’s Harbiye.
Writer-director Alper also won the best screenplay award for “Sonbahar,” which brought the best actor award to its leading actor, Onur Saylak, for his role as a political prisoner who returns to his hometown in the Black Sea region after being released on medical grounds 10 years after imprisonment. The film also earned the best cinematography award for Feza Çaldıran.
The four honors Ceylan’s internationally recognized “Üç Maymun” (Three Monkeys) collected at the SİYAD gala Sunday night included yet another best director prize -- after the Cannes film festival nod in 2008 -- for Ceylan and the best editing prize. Its leading actress, Hatice Aslan, earned the best actress award for her performance as the deceitful wife of the title character who goes to prison to cover for his boss, and Ahmet Rıfat Şungar won the best supporting actor prize for his portrayal of the couple’s son.
Among other SİYAD honors, handed out in 13 categories in total, the best supporting actress award went to Tülin Özen for her role in “Vicdan” (Conscience), directed by Erden Kıral; the best music award went to rocker Demir Demirkan for his soundtrack for documentary filmmaker Tolga Örnek’s debut fictional feature “Devrim Arabaları” (Devrim Automobiles); and the 2007 drama “There Will Be Blood” by Paul Thomas Anderson was named best foreign film.
24 February 2009, Tuesday
TODAY’S ZAMAN İSTANBUL
Two much talked about Turkish films of last year, one by newcomer Özcan Alper and another by auteur Nuri Bilge Ceylan, grabbed four awards each at Sunday’s annual Turkish Film Critics Association (SİYAD) Awards.
Alper’s “Sonbahar” (Autumn) won the best picture honor in the 41st SİYAD Awards, handed out Sunday evening at a gala ceremony at the Cemal Reşit Rey (CRR) Concert Hall in İstanbul’s Harbiye.
Writer-director Alper also won the best screenplay award for “Sonbahar,” which brought the best actor award to its leading actor, Onur Saylak, for his role as a political prisoner who returns to his hometown in the Black Sea region after being released on medical grounds 10 years after imprisonment. The film also earned the best cinematography award for Feza Çaldıran.
The four honors Ceylan’s internationally recognized “Üç Maymun” (Three Monkeys) collected at the SİYAD gala Sunday night included yet another best director prize -- after the Cannes film festival nod in 2008 -- for Ceylan and the best editing prize. Its leading actress, Hatice Aslan, earned the best actress award for her performance as the deceitful wife of the title character who goes to prison to cover for his boss, and Ahmet Rıfat Şungar won the best supporting actor prize for his portrayal of the couple’s son.
Among other SİYAD honors, handed out in 13 categories in total, the best supporting actress award went to Tülin Özen for her role in “Vicdan” (Conscience), directed by Erden Kıral; the best music award went to rocker Demir Demirkan for his soundtrack for documentary filmmaker Tolga Örnek’s debut fictional feature “Devrim Arabaları” (Devrim Automobiles); and the 2007 drama “There Will Be Blood” by Paul Thomas Anderson was named best foreign film.
24 February 2009, Tuesday
TODAY’S ZAMAN İSTANBUL
Will Yeşilçam apologize to Muslims?
Ekrem Dumanli / Todays Zaman
Will Yeşilçam apologize to Muslims?
Wednesday, 18 February 2009
In my previous article I had asked, "Will Hollywood apologize to Muslims?" and I expressed my views about cinema, beliefs, biases and stereotypes by drawing examples from Hollywood productions.
Actually, we don't have to go so far in order to ask this question. Who can say that the Muslim stereotyping in our own cinema industry is so true to reality that we should expect the cinema sectors in other countries to follow suit?
Before going any further, I would like to clarify what I mean by bias or stereotype: If the same cliché is insistently used to refer to the same group, then it certainly means that there is bias toward that group. This applies to every group or people, and it is a clear sign of discrimination and hate. If one group is always depicted with the same characterization of its members and these characters are always evil and if, as part of the same strategy, some people are always shown as good, then it is obvious that there is bias or some preconception at work. This is because no group can be collectively "good" or "evil."
The Turkish cinema sector has long pursued negative attitudes against religion and devout people and attempted to develop a negative stereotype of them. Until recently, almost all portrayals of clerical officials, kadıs (religious judges), hodcas and pilgrims have been negative. People who seem to be devout in appearance have been portrayed as secretly malicious. Is there no exception to these stereotypes? No, unfortunately. Moreover, this unrelenting attempt to create such stereotypes has never let up.
It is wrong to suggest that this can be explained by negative attitudes against religion on the part of scriptwriters or producers. Indeed, this attempt has been aggravated, in part, by official policies. The "fanatical cleric" stereotype is a recurring theme in all fictional works (novels, short stories, plays) published since the early years of the republic. Such characterizations of devout people (or other pandemic preconceptions about other groups) cannot be correctly diagnosed unless they are viewed from a political vantage point. It is for this reason that we can find various forms of this stereotype, from the single-party regime to the Justice and Development Party (AK Party) era.
The negative portrayal of clerics and devout people that started after the establishment of the republic continued for some time and the nation perceived this portrayal as a "hatred of religion." There may be factors that justify this perception, but the point here is not about believing in or denying a certain religion. A new regime was established and, like every new regime, the Republic of Turkey thought that the previous era had to be defaced. Therefore, all values that belonged to the previous era were to be portrayed as evil while the values of the new regime were to be glorified. All people that represented the old regime were characterized in films as traitors, collaborators and liars. On the other hand, those who symbolized the new regime were promoted as idealistic, hardworking and self-sacrificing. The old regime was represented by fanatical religious people or superficial clerics, while the new regime was represented by teachers, physicians and engineers.
Ultimately it was religion and science that were pitted against each other. In an atmosphere where nothing is expressed openly, the row was going on between tradition and modernism. In the picture portrayed for the spectators were those who represented the return of the old regime (reactionary people) and those who fed on positivism but, at the same time, tried to cling to the nation through national values (progressive people). Later, the names and forms of these symbols changed, but the characterization remained the same. Advocates of innovation were always "progressive and intellectual" types, while proponents of tradition were always "reactionary and fanatical."
It seems that our cinema sector and democratic quest have made parallel progress. As the freedom of expression and belief has expanded, these characterizations were modified. Now let us look at the following main developments briefly and try to make sense of them according to eras: the single-party era, the introduction of the multiparty regime, the years of military coups, the rise of left-wing movements, the rise of nationalist movements and the rise of conservative movements. Now let us treat these main developments briefly and try to make sense of them according to eras.
The era of stage actors and the building of a new regime
Some of the striking films produced between 1922 and 1939, known as the era of stage actors in the history of Turkish cinema, should be viewed as an effort to contribute the nation building process that was in the works then. The dominant personality of this era was, without a doubt, Muhsin Ertuğrul. "Ateşten Gömlek," a film adapted from Halide Edip Adıvar's novel of the same title, is regarded as one of the first successful films on the War of Independence. "Bir Millet Uyanıyor," directed by Ertuğrul in 1923, serves as the unforgettable model for the subsequent wave of films about the war. The common theme of these films was the enthusiasm of building a new state. Two films, both directed by Ertuğrul, should be noted in particular, as they created the clerical official prototypes for subsequent films: "Aynaros Kadısı" and "Bir Kavuk Devrildi."
Another recurrent theme in the era of stage actors is the Bektaşi sheikh, seen first in "Nur Baba" (1922). This sheik is a lustful, ambitious and devious type and the Bektaşi lodges are places where wild parties are held. After Bektaşis raided the film set and several incidents broke out, the producers started to act with caution in their portrayals of Alevis and Bektaşis. Later, open references to Bektaşis were removed from the films. Instead, only sheiks and their lodges tended to be discussed. Nevertheless, there were still references to the struggle between the old and the new.
"Aynaros Kadısı," which was originally written as a play by Musahipzade in 1927 but was adapted for the screen by Ertuğrul in 1938, is the most striking example of the stereotyping of clerics and religious people. The film intentionally revolves around a kadı because this allows the director to offer his biased portrayal of a cleric and, at the same, denigrate the Ottoman legal system. It should be clear that this judge is deceitful and lustful and takes bribes, amongst other things. Despite some harsh criticism, Yeşilçam never found the courage to develop new perspectives. Ertuğrul maintained the same characterizations in his subsequent films. In "Bir Kavuk Devrildi," for example, you can find the same characters and themes.
These prototypes, which were invented with the motive of lending ideological support to the newly founded state, are understandable in the context of their time. But today the film sector must realize the realities behind them and engage in some self-criticism. While the clerical officials -- and devout people -- heartily supported the War of Independence and while the first Parliament's respect for religion is well known, the Turkish filmmaking sector insistently opted to denigrate and humiliate religion and devout people, which had bad consequences. The constant portrayal of clerics as evil and disgusting characters has led to the alienation of the nation from cinema.
For some reason, clerics were portrayed as opponents of the national struggle. Clearly this does not correspond to historical realities. As a matter of fact, while there were some clerics who were against the national liberation movement, one cannot deny the support provided by the majority. Yet one can never find a positive portrayal of them in film. I do not want to do injustice to the filmmaking sector, as these negative stereotyping attempts are not limited to cinema. All fictional works suffer from this defect. "New" is represented by teachers, while "old" is symbolized by clerics. This applies both to novels and plays.
The unchanging cliché of the transition era: religion and religious people
The eruption of World War II had negative effects both on world cinema in general and the Turkish filmmaking sector in particular. At the end of this phase, known as the transition era, stage actors left the scene to directors. But the influence of stage actors was still visible in the films of this era. In 1948, the sector became financially supported by the state following a series of legal measures and this ushered in a diversification of the themes of the films. In 1949 the landmark film of negatively stereotyping clerics was produced: "Vurun Kahpeye." Directed by Lütfü Ö. Akad, "Vurun Kahpeye" pits the idealistic and enlightened teacher Aliye and the devious, devout cleric Hacı Fettah against each other. The most striking scene in the film is the lynching of Aliye by the "pro-sultan Hacı Fettah and the ignorant mob led by him." The film was adapted from Halide Edip Adıvar's novel of the same title. Her novel has been adapted to cinema three times and each time it has created major reactions. In its latest adaptation, Halif Refiğ adopted a delicate and cautious approach. Nevertheless, its damage in terms of stereotyping is great.
Interestingly, the Turkish cinema sector tends to portray the clerics as devious, ambitious, unreliable or lustful types while it refrains from making similar negative generalizations about other professions. Teachers are always respected, police officers are characterized as dignified people, soldiers are shown as symbols of national dignity and judges are portrayed as models of justice. Is it possible for any profession to include nothing but good people? Of course not. However, this is a consequence of the nation-building process. The fact that our stereotypes do not correspond to the stereotypes of world cinema is clear proof of the influence of political and social engineering projects on the Turkish cinema sector. In a later article, we will continue to discuss how internal dynamics have affected the cinema sector from the point of view of their perception of religion and devout people.
Will Yeşilçam apologize to Muslims?
Wednesday, 18 February 2009
In my previous article I had asked, "Will Hollywood apologize to Muslims?" and I expressed my views about cinema, beliefs, biases and stereotypes by drawing examples from Hollywood productions.
Actually, we don't have to go so far in order to ask this question. Who can say that the Muslim stereotyping in our own cinema industry is so true to reality that we should expect the cinema sectors in other countries to follow suit?
Before going any further, I would like to clarify what I mean by bias or stereotype: If the same cliché is insistently used to refer to the same group, then it certainly means that there is bias toward that group. This applies to every group or people, and it is a clear sign of discrimination and hate. If one group is always depicted with the same characterization of its members and these characters are always evil and if, as part of the same strategy, some people are always shown as good, then it is obvious that there is bias or some preconception at work. This is because no group can be collectively "good" or "evil."
The Turkish cinema sector has long pursued negative attitudes against religion and devout people and attempted to develop a negative stereotype of them. Until recently, almost all portrayals of clerical officials, kadıs (religious judges), hodcas and pilgrims have been negative. People who seem to be devout in appearance have been portrayed as secretly malicious. Is there no exception to these stereotypes? No, unfortunately. Moreover, this unrelenting attempt to create such stereotypes has never let up.
It is wrong to suggest that this can be explained by negative attitudes against religion on the part of scriptwriters or producers. Indeed, this attempt has been aggravated, in part, by official policies. The "fanatical cleric" stereotype is a recurring theme in all fictional works (novels, short stories, plays) published since the early years of the republic. Such characterizations of devout people (or other pandemic preconceptions about other groups) cannot be correctly diagnosed unless they are viewed from a political vantage point. It is for this reason that we can find various forms of this stereotype, from the single-party regime to the Justice and Development Party (AK Party) era.
The negative portrayal of clerics and devout people that started after the establishment of the republic continued for some time and the nation perceived this portrayal as a "hatred of religion." There may be factors that justify this perception, but the point here is not about believing in or denying a certain religion. A new regime was established and, like every new regime, the Republic of Turkey thought that the previous era had to be defaced. Therefore, all values that belonged to the previous era were to be portrayed as evil while the values of the new regime were to be glorified. All people that represented the old regime were characterized in films as traitors, collaborators and liars. On the other hand, those who symbolized the new regime were promoted as idealistic, hardworking and self-sacrificing. The old regime was represented by fanatical religious people or superficial clerics, while the new regime was represented by teachers, physicians and engineers.
Ultimately it was religion and science that were pitted against each other. In an atmosphere where nothing is expressed openly, the row was going on between tradition and modernism. In the picture portrayed for the spectators were those who represented the return of the old regime (reactionary people) and those who fed on positivism but, at the same time, tried to cling to the nation through national values (progressive people). Later, the names and forms of these symbols changed, but the characterization remained the same. Advocates of innovation were always "progressive and intellectual" types, while proponents of tradition were always "reactionary and fanatical."
It seems that our cinema sector and democratic quest have made parallel progress. As the freedom of expression and belief has expanded, these characterizations were modified. Now let us look at the following main developments briefly and try to make sense of them according to eras: the single-party era, the introduction of the multiparty regime, the years of military coups, the rise of left-wing movements, the rise of nationalist movements and the rise of conservative movements. Now let us treat these main developments briefly and try to make sense of them according to eras.
The era of stage actors and the building of a new regime
Some of the striking films produced between 1922 and 1939, known as the era of stage actors in the history of Turkish cinema, should be viewed as an effort to contribute the nation building process that was in the works then. The dominant personality of this era was, without a doubt, Muhsin Ertuğrul. "Ateşten Gömlek," a film adapted from Halide Edip Adıvar's novel of the same title, is regarded as one of the first successful films on the War of Independence. "Bir Millet Uyanıyor," directed by Ertuğrul in 1923, serves as the unforgettable model for the subsequent wave of films about the war. The common theme of these films was the enthusiasm of building a new state. Two films, both directed by Ertuğrul, should be noted in particular, as they created the clerical official prototypes for subsequent films: "Aynaros Kadısı" and "Bir Kavuk Devrildi."
Another recurrent theme in the era of stage actors is the Bektaşi sheikh, seen first in "Nur Baba" (1922). This sheik is a lustful, ambitious and devious type and the Bektaşi lodges are places where wild parties are held. After Bektaşis raided the film set and several incidents broke out, the producers started to act with caution in their portrayals of Alevis and Bektaşis. Later, open references to Bektaşis were removed from the films. Instead, only sheiks and their lodges tended to be discussed. Nevertheless, there were still references to the struggle between the old and the new.
"Aynaros Kadısı," which was originally written as a play by Musahipzade in 1927 but was adapted for the screen by Ertuğrul in 1938, is the most striking example of the stereotyping of clerics and religious people. The film intentionally revolves around a kadı because this allows the director to offer his biased portrayal of a cleric and, at the same, denigrate the Ottoman legal system. It should be clear that this judge is deceitful and lustful and takes bribes, amongst other things. Despite some harsh criticism, Yeşilçam never found the courage to develop new perspectives. Ertuğrul maintained the same characterizations in his subsequent films. In "Bir Kavuk Devrildi," for example, you can find the same characters and themes.
These prototypes, which were invented with the motive of lending ideological support to the newly founded state, are understandable in the context of their time. But today the film sector must realize the realities behind them and engage in some self-criticism. While the clerical officials -- and devout people -- heartily supported the War of Independence and while the first Parliament's respect for religion is well known, the Turkish filmmaking sector insistently opted to denigrate and humiliate religion and devout people, which had bad consequences. The constant portrayal of clerics as evil and disgusting characters has led to the alienation of the nation from cinema.
For some reason, clerics were portrayed as opponents of the national struggle. Clearly this does not correspond to historical realities. As a matter of fact, while there were some clerics who were against the national liberation movement, one cannot deny the support provided by the majority. Yet one can never find a positive portrayal of them in film. I do not want to do injustice to the filmmaking sector, as these negative stereotyping attempts are not limited to cinema. All fictional works suffer from this defect. "New" is represented by teachers, while "old" is symbolized by clerics. This applies both to novels and plays.
The unchanging cliché of the transition era: religion and religious people
The eruption of World War II had negative effects both on world cinema in general and the Turkish filmmaking sector in particular. At the end of this phase, known as the transition era, stage actors left the scene to directors. But the influence of stage actors was still visible in the films of this era. In 1948, the sector became financially supported by the state following a series of legal measures and this ushered in a diversification of the themes of the films. In 1949 the landmark film of negatively stereotyping clerics was produced: "Vurun Kahpeye." Directed by Lütfü Ö. Akad, "Vurun Kahpeye" pits the idealistic and enlightened teacher Aliye and the devious, devout cleric Hacı Fettah against each other. The most striking scene in the film is the lynching of Aliye by the "pro-sultan Hacı Fettah and the ignorant mob led by him." The film was adapted from Halide Edip Adıvar's novel of the same title. Her novel has been adapted to cinema three times and each time it has created major reactions. In its latest adaptation, Halif Refiğ adopted a delicate and cautious approach. Nevertheless, its damage in terms of stereotyping is great.
Interestingly, the Turkish cinema sector tends to portray the clerics as devious, ambitious, unreliable or lustful types while it refrains from making similar negative generalizations about other professions. Teachers are always respected, police officers are characterized as dignified people, soldiers are shown as symbols of national dignity and judges are portrayed as models of justice. Is it possible for any profession to include nothing but good people? Of course not. However, this is a consequence of the nation-building process. The fact that our stereotypes do not correspond to the stereotypes of world cinema is clear proof of the influence of political and social engineering projects on the Turkish cinema sector. In a later article, we will continue to discuss how internal dynamics have affected the cinema sector from the point of view of their perception of religion and devout people.
Thursday, February 05, 2009
Should I Really Do It?
Bunu Gerçekten Yapmalı Mıyım? Should I Really Do It? 86", 35mmColor, German with English subtitles
Feature film by Ismail Necmi [1], starring Petra Woschniak. This real-life-feature follows the extraordinary life of Petra, a German woman living in Istanbul, in an ironic inversion of the Turkish migrant to Germany. Her life will take such strange turns you’ll think she’s following a script. But really, we’re watching a real life protagonist evolve in the face of life. For, ultimately, nothing is ever as surprising as life. Except, perhaps, fiction… During her sessions with Herold, a masked therapist, her life will unfold before our eyes and we will learn about everything: Istanbul, Germany, family, friends, drugs and death. Should I Really Do It? plays with these concepts of real life and fiction, documentary and drama. Could life ever be more interesting than fiction?The film's soundtrack was composed by Serkan Alkan, with additional tracks composed by Turkish-Techno musician, Mercan Dede.
The film was selected for international competition in both the 2008 Antalya Golden Orange Film Festival and the 2008 !F Istanbul International Film Festival.[3][1] In 2007, it was also recognized with selection in the 'Mediterranean Films Crossing Borders' programme of the Berlin International Film Festival and the 'European Films Crossing Borders' programme of the Cannes Film Festival.
The film was selected for international competition in both the 2008 Antalya Golden Orange Film Festival and the 2008 !F Istanbul International Film Festival.[3][1] In 2007, it was also recognized with selection in the 'Mediterranean Films Crossing Borders' programme of the Berlin International Film Festival and the 'European Films Crossing Borders' programme of the Cannes Film Festival.
[1] Ismail Necmi works as an independent photographer and filmmaker. Born in Turkey in 1970, he graduated from Istanbul University / Law Faculty. From 1988 to 1992, he worked on a number of movies, short movies, TV series and photo shoots. From 1993 to 2004, he worked as an editor and video graphic designer for ARD German TV Studio in Istanbul. As a photographer, he worked on his own projects: “Transformation” (2001), a solo Black & White photography exhibition in Dulcinea Istanbul, and “The image is YOU!”, a Black & White Interactive Photography Project launched in 2002, among others. Between 2006 and 2007, he worked as an instructor in Visual Communication Design and Photography and Video at Istanbul Bilgi University. In 2005, he started his own production company, “IN Works Istanbul”. In February 2008, he finished his début real-life-feature film, Should I really do it? which he produced and directed.
Contact: In Works Istanbul İsmail Necmi Hayriye Cad. 5/7, 34433 Galatasaray İstanbul, Turkey Tel: +90 212 292 5538 Fax: +90 212 292 5539 E-mail: info@ismailnecmi.com
The 11th Thessaloniki Documentary Festival
The 11th Thessaloniki Documentary Festival – Images of the 21st Century will take place from the 13th to the 22nd of March 2009.
The TDF is carried out every March in Thessaloniki since its inception in 1999 and under the umbrella of the Thessaloniki International Film Festival organization. Through its tributes and retrospectives, the TDF focuses on filmmakers with unique cinematic voices, internationally renowned for their contribution to the documentary genre. Dimitri Eipides, the Artistic Director of the Thessaloniki Documentary Festival – Images of the 21st Century, has always believed that “recording reality is the most important and most contemporary element of civilization.”
CONTACTS THESSALONIKI DOCUMENTARY FESTIVAL - IMAGES OF THE 21st CENTURY Address: 9 Αlexandras Avenue, GR-11473 Athens, Greece Tel: (+30 210) 87 06 000 Fax: (+30 210) 64 48 143 email: documentary@filmfestival.gr
The TDF is carried out every March in Thessaloniki since its inception in 1999 and under the umbrella of the Thessaloniki International Film Festival organization. Through its tributes and retrospectives, the TDF focuses on filmmakers with unique cinematic voices, internationally renowned for their contribution to the documentary genre. Dimitri Eipides, the Artistic Director of the Thessaloniki Documentary Festival – Images of the 21st Century, has always believed that “recording reality is the most important and most contemporary element of civilization.”
CONTACTS THESSALONIKI DOCUMENTARY FESTIVAL - IMAGES OF THE 21st CENTURY Address: 9 Αlexandras Avenue, GR-11473 Athens, Greece Tel: (+30 210) 87 06 000 Fax: (+30 210) 64 48 143 email: documentary@filmfestival.gr
SIYAD 2008 Awards Nominations
SİYAD - Sinema Yazarları Derneği / Turkish Film Critics Association announced 2008 Awards Nominations
Best Film
* ARA (Yapımcılar: Ümit ÜNAL, Mustafa USLU)* RIZA (Yapımcılar: Tayfun PİRSELİMOĞLU, İlknur AKANLAR)* SONBAHAR (Yapımcı: F. Serkan ACAR)* TATİL KITABI (Yapımcılar: Yamaç OKUR, Nadir ÖPERLİ)* ÜÇ MAYMUN (Yapımcı: Zeynep ÖZBATUR)
Best Direction
* Özcan ALPER (Sonbahar)* Nuri Bilge CEYLAN (Üç Maymun)* Kazım ÖZ (Fırtına)* Tayfun PİRSELİMOĞLU (Rıza)* Ümit ÜNAL (Ara)
Best Female Performance
* Demet AKBAĞ (O... Çocukları)* Hatice ASLAN (Üç Maymun)* Ayça DAMGACI (Gitmek)* Selen UÇER (Ara)* Nurgül YEŞİLÇAY (Vicdan)
Best male Performance
* Erdem AKAKÇE (Ara)* Rıza AKIN (Rıza)* Yavuz BİNGÖL (Üç Maymun)* Onur SAYLAK (Sonbahar)* Cem YILMAZ (A.R.O.G: Bir Yontmataş Filmi)
Best Female Performance in a Supporting Role
* Nurcan EREN (Rıza)* Vahide GÖRDÜM (Devrim Arabaları)* Megi KOBALADZE (Sonbahar)* Yıldız KÜLTÜR (Issız Adam)* Tülin ÖZEN (Vicdan)
Best Male Performance in a Supporting Role
* Taner BİRSEL (Tatil Kitabı)* Serkan KESKİN (Sonbahar)* Volga SORGU (Gitmek)* Ahmet Rıfat ŞUNGAR (Üç Maymun)* Onur ÜNSAL (Devrim Arabaları)
Best original Screenplay
* Özcan ALPER (Sonbahar)* Ebru CEYLAN, Ercan KESAL, Nuri Bilge CEYLAN (Üç Maymun)* Tayfun PİRSELİMOĞLU (Rıza)* İnan TEMELKURAN (Made in Europe)* Ümit ÜNAL (Ara)
Best Cinematography
* Arnau Valls COLOMER (Tatil Kitabı)* Feza ÇALDIRAN (Sonbahar)* Colin MOUNIER (Rıza)* Gökhan TİRYAKİ (Üç Maymun)* Soykut TURAN (A.R.O.G: Bir Yontmataş Filmi)
Best Musical Score
* Goran BREGOVIC (Mustafa)* Mazlum ÇİMEN (Son Cellat)* Demir DEMİRKAN (Devrim Arabaları)* Ayşenur KOLİVAR, Yuri YEDCANKO, Sumru AĞIRYÜRÜYEN, Onok BOZKURT (Sonbahar)* Evanthia REBOUTSIKA (Ulak)
Best Editing
* Erhan ACAR JR. (A.R.O.G: Bir Yontmataş Filmi)* Thomas BALKENHOL (Sonbahar)* Ayhan ERGÜRSEL, Bora GÖKŞİNGÖL, Nuri Bilge CEYLAN (Üç Maymun)* Çiçek KAHRAMAN (Ara)* İnan TEMELKURAN (Made in Europe)
Best Art Direction
* Ebru CEYLAN (Üç Maymun)* Veli KAHRAMAN (Devrim Arabaları)* Mustafa Ziya ÜLKENCİLER (Ulak)* Hakan YARKIN (A.R.O.G: Bir Yontmataş Filmi)* Natali YERES (Rıza)
Best Documentary Film
* Bu Ne Güzel Demokrasi! (Yönetmenler: Belmin SÖYLEMEZ, Berke BAŞ, Haşmet TOPALOĞLU, Somnur VARDAR)* Devrimci Gençlik Köprüsü (Yönetmen: Bahriye KABADAYI)* Son Kumsal (Yönetmen: Rüya Arzu KÖKSAL)* 3 Saat (Yönetmen: Can CANDAN)* Volga Volga (Yönetmen: Ayşegül TAŞKENT)
Best Short Film
* Ayak Altında (Yönetmen: M. Cem ÖZTÜFEKÇİ)* Gemeinschaft (Yönetmen: Özlem AKIN)* Pembe İnek (Yönetmen: Onur GÜRSOY)* Süt ve Çikolata (Yönetmen: Senem TÜZEN)* Unus Mundus (Yönetmen: Senem TÜZEN)
Best Film
* ARA (Yapımcılar: Ümit ÜNAL, Mustafa USLU)* RIZA (Yapımcılar: Tayfun PİRSELİMOĞLU, İlknur AKANLAR)* SONBAHAR (Yapımcı: F. Serkan ACAR)* TATİL KITABI (Yapımcılar: Yamaç OKUR, Nadir ÖPERLİ)* ÜÇ MAYMUN (Yapımcı: Zeynep ÖZBATUR)
Best Direction
* Özcan ALPER (Sonbahar)* Nuri Bilge CEYLAN (Üç Maymun)* Kazım ÖZ (Fırtına)* Tayfun PİRSELİMOĞLU (Rıza)* Ümit ÜNAL (Ara)
Best Female Performance
* Demet AKBAĞ (O... Çocukları)* Hatice ASLAN (Üç Maymun)* Ayça DAMGACI (Gitmek)* Selen UÇER (Ara)* Nurgül YEŞİLÇAY (Vicdan)
Best male Performance
* Erdem AKAKÇE (Ara)* Rıza AKIN (Rıza)* Yavuz BİNGÖL (Üç Maymun)* Onur SAYLAK (Sonbahar)* Cem YILMAZ (A.R.O.G: Bir Yontmataş Filmi)
Best Female Performance in a Supporting Role
* Nurcan EREN (Rıza)* Vahide GÖRDÜM (Devrim Arabaları)* Megi KOBALADZE (Sonbahar)* Yıldız KÜLTÜR (Issız Adam)* Tülin ÖZEN (Vicdan)
Best Male Performance in a Supporting Role
* Taner BİRSEL (Tatil Kitabı)* Serkan KESKİN (Sonbahar)* Volga SORGU (Gitmek)* Ahmet Rıfat ŞUNGAR (Üç Maymun)* Onur ÜNSAL (Devrim Arabaları)
Best original Screenplay
* Özcan ALPER (Sonbahar)* Ebru CEYLAN, Ercan KESAL, Nuri Bilge CEYLAN (Üç Maymun)* Tayfun PİRSELİMOĞLU (Rıza)* İnan TEMELKURAN (Made in Europe)* Ümit ÜNAL (Ara)
Best Cinematography
* Arnau Valls COLOMER (Tatil Kitabı)* Feza ÇALDIRAN (Sonbahar)* Colin MOUNIER (Rıza)* Gökhan TİRYAKİ (Üç Maymun)* Soykut TURAN (A.R.O.G: Bir Yontmataş Filmi)
Best Musical Score
* Goran BREGOVIC (Mustafa)* Mazlum ÇİMEN (Son Cellat)* Demir DEMİRKAN (Devrim Arabaları)* Ayşenur KOLİVAR, Yuri YEDCANKO, Sumru AĞIRYÜRÜYEN, Onok BOZKURT (Sonbahar)* Evanthia REBOUTSIKA (Ulak)
Best Editing
* Erhan ACAR JR. (A.R.O.G: Bir Yontmataş Filmi)* Thomas BALKENHOL (Sonbahar)* Ayhan ERGÜRSEL, Bora GÖKŞİNGÖL, Nuri Bilge CEYLAN (Üç Maymun)* Çiçek KAHRAMAN (Ara)* İnan TEMELKURAN (Made in Europe)
Best Art Direction
* Ebru CEYLAN (Üç Maymun)* Veli KAHRAMAN (Devrim Arabaları)* Mustafa Ziya ÜLKENCİLER (Ulak)* Hakan YARKIN (A.R.O.G: Bir Yontmataş Filmi)* Natali YERES (Rıza)
Best Documentary Film
* Bu Ne Güzel Demokrasi! (Yönetmenler: Belmin SÖYLEMEZ, Berke BAŞ, Haşmet TOPALOĞLU, Somnur VARDAR)* Devrimci Gençlik Köprüsü (Yönetmen: Bahriye KABADAYI)* Son Kumsal (Yönetmen: Rüya Arzu KÖKSAL)* 3 Saat (Yönetmen: Can CANDAN)* Volga Volga (Yönetmen: Ayşegül TAŞKENT)
Best Short Film
* Ayak Altında (Yönetmen: M. Cem ÖZTÜFEKÇİ)* Gemeinschaft (Yönetmen: Özlem AKIN)* Pembe İnek (Yönetmen: Onur GÜRSOY)* Süt ve Çikolata (Yönetmen: Senem TÜZEN)* Unus Mundus (Yönetmen: Senem TÜZEN)
Sunday, February 01, 2009
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 (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.
Saturday, January 31, 2009
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
Wednesday, January 28, 2009
Rotterdam | Young Turkish Cinema Introduction
Young Turkish Cinema Introduction
Ludmila Cvikova
l.cvikova@filmfestivalrotterdam.com
When is the right time to pay attention to a film industry in a specific region, and why would one actually do so?
In September 2008, the IFFR had a first meeting in Holland with a number of young Turkish film critics, some of whom are affiliated with the prestigious film critic magazine Altyazi, to discuss recent developments occurring in the Turkish film industry. A few more meetings followed, among others during the Festival on Wheels in Kars and later on in Istanbul. Our discussions initially revolved around the generation of film makers who began their careers in the 1990s and have achieved worldwide acknowledgement with outstanding auteurs cinema, such as Nuri Bilge Ceylan, Yesim Ustaouglu, or Semih Kaplanoglu, but later on we also focused on the newest generation and names that have appeared recently. As the IFFR is known for its focus on young and upcoming talents, the outline for our special thematic programme started to take shape. The Altyazi film critics embraced this concept, as they agreed that there is a lot of young talent within Turkish cinema worth paying special attention to.
Another interesting phenomenon that should not go unnoticed is that a new generation of young film critics are closely following what is happening in film in their country – the ideal combination of a generation that is artistically and intellectually connected. (Although it was never a formally organised film movement, weren’t the film critics who came up with the blanket term of French new wave in the sixties in fact French?)
The year 2008 was exceptionally dynamic and successful for Turkish cinema and directors. Let’s have a chronological look at their concrete successes: The film débutMy Marlon and Brando (Gitmek) by Hüseyin Karabey, a semi-biographical love story about a young Turkish woman, Ayca, and her journey to Northern Iraq to meet her great love, Hama Ali, a Kurdish man. It was successfully presented during the IFFR in January and received many acclaims thereafter.
Another rewarding presentation of a first film at a big festival followed very shortly after – this time it was the picturesque and moving story of a Turkish family in a provincial Mediterranean town – Summer Book made by Seyfi Teoman and presented at the Berlinale.
The Best Director award at Cannes for Nuri Bilge Ceylan’s Three Monkeys was a very much expected acknowledgement for this extraordinary visually depicted family drama with outstanding acting.
Autumn (Sonbahar), a film that tackles the issues of forsaken young generations in Turkey and their struggle for social change, directed by Özcan Alper, who according to Variety is an ‘impressive new voice in Turkish cinema’, was selected for the International Film Competition at the 61st Locarno Film Festival and awarded the CICAE Prize.
Milk (SÜT), the second part in Semih Kaplanoglu’s Yusuf Trilogy, in which he sketches the progressive industrialisation of the countryside, was selected for the competition section of the 65th Venice International Film Festival, while the first part of the trilogy, Egg (Yumurta), was included in Sight&Sound magazine’s list, ‘The Best of 2008 – 50 Critics 150 Films’.
First-time director Selim Evci’s film Two Lines (Iki Cizgi), in which he observes the young generation’s male-female relationships in modern Turkey, took part in the 23rd International Film Critics Week of the Venice IFF.
Yesim Ustaouglu and her work have been supported by IFFR’s Hubert Bals Fund since 1999. Ustaoglu’s latest project, Pandora’s Box (Pandora’nin kutusu), was successfully presented last September in San Sebastian and awarded two prizes: a Golden Seashell for Yesim Ustaoglu and a Silver Seashell for Tsilla Chelton as best actress. It is the story of a Turkish family in which the modern world meets the old, alienation and isolation occur and individuals go through universally understandable self-discovery.
Also worth mentioning is the fact that this year for the first time the IDFA competition included a Turkish documentary, On the Way to School by Orhan Eskikoy and Özgür Dogan.
Actually, the last decade and a half has been a good time for Turkish cinema, and that’s why we have selected for this special programme some older films that have played an important role. After the collapse of many production companies in the mid-1990s, the actual number of films decreased but films with a new sort of funding increased – directors took over the production of their own films. The rising artistic quality of some of those films hasn’t remained unnoticed. No one knew who Dervis Zaim was when his low-budget cinema-verité style début Summersaults in a Coffin (Tabutta Rövasata) came out in 1996, but he was soon to become a household name for young Turkish film enthusiasts, inspiring a few independent Turkish films produced in the next decade, among them Zeki Demirkubuz’s Innocence(Masumiyet) from 1997. This important film, supported by a great cast, redefined the genre of melodrama, which has been inherent in the Turkish movie culture ever since the 1960s.
The Small Town (Kasaba, 1997), the directorial début of Nuri Bilge Ceylan, is a wonderful black-and-white intimate family portrait based on an autobiographical story, a film that still continues to maintain its irreplaceable position in Turkish cinema with its inspirational minimalism that, together with his following works, would make Nuri Bilge Ceylan’s name as a directorial genius.
The first film by the social-realist film collective Yeni Sinemacilar, On Board(Gemide, 1998) by Serdar Akar, began a new style of filmmaking in Turkey: straightforward and thought-provoking. This film continues to exert its unique influence over independent Turkish cinema.
Yesim Ustaoglu’s second feature Journey To The Sun (Gunese Yolculuk, 1999) was an arresting portrait, with a pronounced documentary-style feel, of the oppression of the Kurdish minority in Turkey.
Semih Kaplanoglu’s unique narrative style in Angel’s Fall (Melegin Dususu, 2004)and his use of end-to-beginning chronological flashbacks of his protagonist’s life in the provinces in his Yusuf Trilogy, would heighten his virtuosity through his contemplative reflection on the concept of ‘time’.
Besides films you may have already seen throughout the year, we are proud to present you a few new titles that will have their premières during the IFF Rotterdam 2009: A dynamically shot story of two friends who get into deep trouble in Istanbul’s chaotic underground scene, Black Dogs Barking (Kara köpekler havlarken ), a directorial début by Maryna Gorbach and Mehmet Bahadir Er.
Kazim Öz’s second feature The Storm (Bahoz) is a true-to-life epic of a group of Kurdish students at the Istanbul University in anticipation of social revolution.
And last but not least, for the first time ever in the IFFR’s Tiger Award Competition, a Turkish film: Wrong Rosary by Mahmet Fazil Coskun, a story of sensuality, love and grief growing within the anonymity of a big city between the young muezzin Musa and the Catholic nurse Clara, in today’s Istanbul. This exceptional début by Mahmut Fazil Coskun is certainly a strong representative of up and coming young talent from Turkey.
We are quite sure that new names and films will still be appearing as you read these words or are enjoying watching the films that we have selected for you from these two generations. Only time will tell us what the present dynamics of the Turkish film industry will mean for the history of Turkish cinema. Enjoy this wonderful, challenging visual trip to this modern and modernising culture!
With special and enormous thanks to Emine Yildirim, and many special thanks to Gozde Onaran, Senem Aytac, Nadir Operli, Yamac Okur, Seyfi Teoman and Christine Dollhofer.
During the IFFR 2009, a special Young Turkish Cinema booklet will be available. It is written, edited and published by the film critics of Altyazi film magazine in co-operation with the IFFR and Crossing Europe Film Festival Linz, Austria
Ludmila Cvikova
l.cvikova@filmfestivalrotterdam.com
When is the right time to pay attention to a film industry in a specific region, and why would one actually do so?
In September 2008, the IFFR had a first meeting in Holland with a number of young Turkish film critics, some of whom are affiliated with the prestigious film critic magazine Altyazi, to discuss recent developments occurring in the Turkish film industry. A few more meetings followed, among others during the Festival on Wheels in Kars and later on in Istanbul. Our discussions initially revolved around the generation of film makers who began their careers in the 1990s and have achieved worldwide acknowledgement with outstanding auteurs cinema, such as Nuri Bilge Ceylan, Yesim Ustaouglu, or Semih Kaplanoglu, but later on we also focused on the newest generation and names that have appeared recently. As the IFFR is known for its focus on young and upcoming talents, the outline for our special thematic programme started to take shape. The Altyazi film critics embraced this concept, as they agreed that there is a lot of young talent within Turkish cinema worth paying special attention to.
Another interesting phenomenon that should not go unnoticed is that a new generation of young film critics are closely following what is happening in film in their country – the ideal combination of a generation that is artistically and intellectually connected. (Although it was never a formally organised film movement, weren’t the film critics who came up with the blanket term of French new wave in the sixties in fact French?)
The year 2008 was exceptionally dynamic and successful for Turkish cinema and directors. Let’s have a chronological look at their concrete successes: The film débutMy Marlon and Brando (Gitmek) by Hüseyin Karabey, a semi-biographical love story about a young Turkish woman, Ayca, and her journey to Northern Iraq to meet her great love, Hama Ali, a Kurdish man. It was successfully presented during the IFFR in January and received many acclaims thereafter.
Another rewarding presentation of a first film at a big festival followed very shortly after – this time it was the picturesque and moving story of a Turkish family in a provincial Mediterranean town – Summer Book made by Seyfi Teoman and presented at the Berlinale.
The Best Director award at Cannes for Nuri Bilge Ceylan’s Three Monkeys was a very much expected acknowledgement for this extraordinary visually depicted family drama with outstanding acting.
Autumn (Sonbahar), a film that tackles the issues of forsaken young generations in Turkey and their struggle for social change, directed by Özcan Alper, who according to Variety is an ‘impressive new voice in Turkish cinema’, was selected for the International Film Competition at the 61st Locarno Film Festival and awarded the CICAE Prize.
Milk (SÜT), the second part in Semih Kaplanoglu’s Yusuf Trilogy, in which he sketches the progressive industrialisation of the countryside, was selected for the competition section of the 65th Venice International Film Festival, while the first part of the trilogy, Egg (Yumurta), was included in Sight&Sound magazine’s list, ‘The Best of 2008 – 50 Critics 150 Films’.
First-time director Selim Evci’s film Two Lines (Iki Cizgi), in which he observes the young generation’s male-female relationships in modern Turkey, took part in the 23rd International Film Critics Week of the Venice IFF.
Yesim Ustaouglu and her work have been supported by IFFR’s Hubert Bals Fund since 1999. Ustaoglu’s latest project, Pandora’s Box (Pandora’nin kutusu), was successfully presented last September in San Sebastian and awarded two prizes: a Golden Seashell for Yesim Ustaoglu and a Silver Seashell for Tsilla Chelton as best actress. It is the story of a Turkish family in which the modern world meets the old, alienation and isolation occur and individuals go through universally understandable self-discovery.
Also worth mentioning is the fact that this year for the first time the IDFA competition included a Turkish documentary, On the Way to School by Orhan Eskikoy and Özgür Dogan.
Actually, the last decade and a half has been a good time for Turkish cinema, and that’s why we have selected for this special programme some older films that have played an important role. After the collapse of many production companies in the mid-1990s, the actual number of films decreased but films with a new sort of funding increased – directors took over the production of their own films. The rising artistic quality of some of those films hasn’t remained unnoticed. No one knew who Dervis Zaim was when his low-budget cinema-verité style début Summersaults in a Coffin (Tabutta Rövasata) came out in 1996, but he was soon to become a household name for young Turkish film enthusiasts, inspiring a few independent Turkish films produced in the next decade, among them Zeki Demirkubuz’s Innocence(Masumiyet) from 1997. This important film, supported by a great cast, redefined the genre of melodrama, which has been inherent in the Turkish movie culture ever since the 1960s.
The Small Town (Kasaba, 1997), the directorial début of Nuri Bilge Ceylan, is a wonderful black-and-white intimate family portrait based on an autobiographical story, a film that still continues to maintain its irreplaceable position in Turkish cinema with its inspirational minimalism that, together with his following works, would make Nuri Bilge Ceylan’s name as a directorial genius.
The first film by the social-realist film collective Yeni Sinemacilar, On Board(Gemide, 1998) by Serdar Akar, began a new style of filmmaking in Turkey: straightforward and thought-provoking. This film continues to exert its unique influence over independent Turkish cinema.
Yesim Ustaoglu’s second feature Journey To The Sun (Gunese Yolculuk, 1999) was an arresting portrait, with a pronounced documentary-style feel, of the oppression of the Kurdish minority in Turkey.
Semih Kaplanoglu’s unique narrative style in Angel’s Fall (Melegin Dususu, 2004)and his use of end-to-beginning chronological flashbacks of his protagonist’s life in the provinces in his Yusuf Trilogy, would heighten his virtuosity through his contemplative reflection on the concept of ‘time’.
Besides films you may have already seen throughout the year, we are proud to present you a few new titles that will have their premières during the IFF Rotterdam 2009: A dynamically shot story of two friends who get into deep trouble in Istanbul’s chaotic underground scene, Black Dogs Barking (Kara köpekler havlarken ), a directorial début by Maryna Gorbach and Mehmet Bahadir Er.
Kazim Öz’s second feature The Storm (Bahoz) is a true-to-life epic of a group of Kurdish students at the Istanbul University in anticipation of social revolution.
And last but not least, for the first time ever in the IFFR’s Tiger Award Competition, a Turkish film: Wrong Rosary by Mahmet Fazil Coskun, a story of sensuality, love and grief growing within the anonymity of a big city between the young muezzin Musa and the Catholic nurse Clara, in today’s Istanbul. This exceptional début by Mahmut Fazil Coskun is certainly a strong representative of up and coming young talent from Turkey.
We are quite sure that new names and films will still be appearing as you read these words or are enjoying watching the films that we have selected for you from these two generations. Only time will tell us what the present dynamics of the Turkish film industry will mean for the history of Turkish cinema. Enjoy this wonderful, challenging visual trip to this modern and modernising culture!
With special and enormous thanks to Emine Yildirim, and many special thanks to Gozde Onaran, Senem Aytac, Nadir Operli, Yamac Okur, Seyfi Teoman and Christine Dollhofer.
During the IFFR 2009, a special Young Turkish Cinema booklet will be available. It is written, edited and published by the film critics of Altyazi film magazine in co-operation with the IFFR and Crossing Europe Film Festival Linz, Austria
Turkish Cinema |Rotterdam IFF 2009
Signals: Young Turkish Cinema 2009
Important new Turkish films by young film makers and the pioneering middle generation.
Autumn Straight our of prison, the once political active Yusuf returns to his Black- Sea hometown. It isn’t just redemption he seeks but a peaceful asylum for his...Özcan Alper, Turkey, Germany, 2008, 106 min.
Black Dogs Barking A dynamic shooting-style, pitch-perfect written street lingo and a transfixing dog-eat-dog story form the essence of this exciting first feature about two...Mehmet Bahadir Er, Maryna Gorbach, Turkey, 2009, 88 min.
Innocence Society has turned its back on Bekir, Ugur and Yusuf, three marginals who look for love in the most unlikely places. Director Zeki Demirkubuz’s tour-de-force...Zeki Demirkubuz, Turkey, 1997, 110 min.
Journey to the Sun Two men of different origin, a western Turk and a Kurd. A true friendship that goes beyond cultural boundaries. Amidst the chaotic background of Istanbul and...Yesim Ustaoglu, Turkey, 1999, 113 min.
Kasaba Awe-inspiring black-and-white début film of Nuri Bilge Ceylan, shot in a village in Anatolia, about the director's childhood years. Two children are witness to...Nuri Bilge Ceylan, Turkey, 1997, 85 min.
Milk A young emerging poet, his beautiful but unfulfilled mother and their small Turkish town about to be swallowed by industrialization. A contemplative tableaux...Semih Kaplanoglu, Turkey, France, Germany, 2008, 102 min.
On Board First film by the social-realist film collective Yeni Sinemacilar, which became the harbinger of a new style of film making in Turkey: straightforward and...Serdar Akar, Turkey, 1998, 102 min.
One Note Man, The Charming tragicomedy about music and love. Cymbal player in a symphony orchestra has a supporter in the audience.Daghan Celayir, Turkey, 2008, 14 min.
Pandora's Box An estranged family is brought together upon the news of their mother’s worsening illness. But the tough-minded mother is not so keen on spending time with her...Yesim Ustaoglu, Turkey, France, Germany, Belgium, 2008, 112 min.
Slope, The Sober yet effective début about a cleaner's routines in hospital.Mehmet Can Mertoglu, Turkey, 2008, 14 min.
Somersault in a Coffin A social outcast’s daily adventures couldn’t be more endearing; Mahsun looks like he just escaped from Folsom Prison but his genuineness and warm-hearted...Dervis Zaim, Turkey, 1996, 80 min.
Storm, The The 90s were the heyday of Turkey’s student movement, and acclaimed documentarist Kazim Öz’s second feature The Storm is a true-to-life epic of Kurdish...Kazim Öz, Turkey, 2008, 156 min.
Summer Book A long summer vacation by the sea. An ordinary Turkish family whose life takes an unexpected turn. Told through the eyes of a ten-year-old boy, this...Seyfi Teoman, Turkey, 2008, 92 min.
Two Lines Psychologically unnerving and sinisterly suspenseful, first-time director Selim Evci’s Two Lines is an acute observation of the young generation's...Selim Evci, Turkey, 2008, 97 min.
Important new Turkish films by young film makers and the pioneering middle generation.
Autumn Straight our of prison, the once political active Yusuf returns to his Black- Sea hometown. It isn’t just redemption he seeks but a peaceful asylum for his...Özcan Alper, Turkey, Germany, 2008, 106 min.
Black Dogs Barking A dynamic shooting-style, pitch-perfect written street lingo and a transfixing dog-eat-dog story form the essence of this exciting first feature about two...Mehmet Bahadir Er, Maryna Gorbach, Turkey, 2009, 88 min.
Innocence Society has turned its back on Bekir, Ugur and Yusuf, three marginals who look for love in the most unlikely places. Director Zeki Demirkubuz’s tour-de-force...Zeki Demirkubuz, Turkey, 1997, 110 min.
Journey to the Sun Two men of different origin, a western Turk and a Kurd. A true friendship that goes beyond cultural boundaries. Amidst the chaotic background of Istanbul and...Yesim Ustaoglu, Turkey, 1999, 113 min.
Kasaba Awe-inspiring black-and-white début film of Nuri Bilge Ceylan, shot in a village in Anatolia, about the director's childhood years. Two children are witness to...Nuri Bilge Ceylan, Turkey, 1997, 85 min.
Milk A young emerging poet, his beautiful but unfulfilled mother and their small Turkish town about to be swallowed by industrialization. A contemplative tableaux...Semih Kaplanoglu, Turkey, France, Germany, 2008, 102 min.
On Board First film by the social-realist film collective Yeni Sinemacilar, which became the harbinger of a new style of film making in Turkey: straightforward and...Serdar Akar, Turkey, 1998, 102 min.
One Note Man, The Charming tragicomedy about music and love. Cymbal player in a symphony orchestra has a supporter in the audience.Daghan Celayir, Turkey, 2008, 14 min.
Pandora's Box An estranged family is brought together upon the news of their mother’s worsening illness. But the tough-minded mother is not so keen on spending time with her...Yesim Ustaoglu, Turkey, France, Germany, Belgium, 2008, 112 min.
Slope, The Sober yet effective début about a cleaner's routines in hospital.Mehmet Can Mertoglu, Turkey, 2008, 14 min.
Somersault in a Coffin A social outcast’s daily adventures couldn’t be more endearing; Mahsun looks like he just escaped from Folsom Prison but his genuineness and warm-hearted...Dervis Zaim, Turkey, 1996, 80 min.
Storm, The The 90s were the heyday of Turkey’s student movement, and acclaimed documentarist Kazim Öz’s second feature The Storm is a true-to-life epic of Kurdish...Kazim Öz, Turkey, 2008, 156 min.
Summer Book A long summer vacation by the sea. An ordinary Turkish family whose life takes an unexpected turn. Told through the eyes of a ten-year-old boy, this...Seyfi Teoman, Turkey, 2008, 92 min.
Two Lines Psychologically unnerving and sinisterly suspenseful, first-time director Selim Evci’s Two Lines is an acute observation of the young generation's...Selim Evci, Turkey, 2008, 97 min.
Thursday, January 22, 2009
Nominations Announced for 2009 Yeşilçam Awards
47 titles vie for Yeşilçam Awards
A total of 47 Turkish movies were running for the 2008 Yeşilçam Awards, with the addition of last month's six releases that also included the box office champion "A.R.O.G," the awards' organizers announced this week.
The Yeşilçam Awards, named after the İstanbul street that served as the country's filmmaking hub during the Turkish movie industry's heyday from the 1950s to the '70s, was launched last year in a bid to boost film production in Turkey.
Dubbed the Turkish equivalent of the Oscars by the Turkish Foundation for Cinema and Audiovisual Culture (TÜRSAK), which organizes the event, the Yeşilçam Awards are given in 11 categories. These includebest film, director, screenplay, soundtrack, actor, actress, supporting actor, supporting actress and first film. The best film statuette comes with a cash prize of TL 150,000 while the director of
the best first film receives a TL 30,000 prize. Turkish productions released throughout the past year are eligible for the competition.
Best Director:
Nuri B. Ceylan (Üç Maymun),
Özcan Alper (Sonbahar),
Çağan Irmak (Issız Adam),
Tolga Örnek (Devrim Arabaları),
Cem Yılmaz-Ali Taner Baltacı (A.R.O.G)
Best Male Actor:
Onur Saylak (Sonbahar),
Yavuz Bingöl (Üç Maymun),
Cem Yılmaz (A.R.O.G),
Çetin Tekindor (Ulak),
Taner Birsel (Devrim Arabaları)
Best Female Actor:
Hatice Aslan (Üç Maymun),
Nurgül Yeşilçay (Vicdan),
Demet Akbağ (O... Çocukları),
Ayça Damgacı (Gitmek),
Melis Birkan (Issız Adam)
Cem Yılmaz-Ali Taner Baltacı (A.R.O.G)
Best Male Actor in a Supporting Role:
Ercan Kesal (Üç Maymun),
Serkan Keskin (Sonbahar),
Selçuk Yöntem (Devrim Arabaları),
Volga Sorgu (Gitmek),
Zafer Algöz (A.R.O.G),
Altan Erkekli (O... Çocukları)
Best Female Actor in a Supporting Role:
Megi Kobalakzde (Sonbahar),
Selen Uçer (Ara), .Şerif Sezer (Ulak),
Yıldız Kültür (Issız Adam),
Özgü Namal (O... Çocukları)
Best Screenplay:
Özcan Alper (Sonbahar)
Çağan Irmak (Issız Adam)
Ebru Ceylan- Ercan Kesal-Nuri Bilge Ceylan (Üç Maymun)
T.Örnek/ M.Dişli (D.Arabaları)
Sırrı S. Önder (O... Çocukları)
Best Music:
Aria Müzik (Issız Adam)
Mazlum Çimen (Son Cellat)
Demir Demirkan (D. Arabaları)
Zülfü Livaneli (Vicdan)
Cahit Berkay (Yağmurdan Sonra
Evanthia Reboutsika (Ulak)
Best Cinematograpy:
Gökhan Tiryaki (Üç Maymun)
Feza Çaldıran (Sonbahar)
Soykut Turan (AROG)
Hasan Gergin (Devrim Arabaları),
Mirsad Heroviç (Ulak)
Young talent Award:
Ahmet R. Şungar (Üç Maymun)
Onur Ünsal (Devrim Arabaları)
Ozan Bilen (Girdap) .Atakan Yağız (Ulak)
Emrah Özdemir (Gitmek)
First Film Award:
Sonbahar
Devrim Arabaları
Gitmek
Bayrampaşa: Ben Fazla Kalmayacağım
120
A total of 47 Turkish movies were running for the 2008 Yeşilçam Awards, with the addition of last month's six releases that also included the box office champion "A.R.O.G," the awards' organizers announced this week.
The Yeşilçam Awards, named after the İstanbul street that served as the country's filmmaking hub during the Turkish movie industry's heyday from the 1950s to the '70s, was launched last year in a bid to boost film production in Turkey.
Dubbed the Turkish equivalent of the Oscars by the Turkish Foundation for Cinema and Audiovisual Culture (TÜRSAK), which organizes the event, the Yeşilçam Awards are given in 11 categories. These includebest film, director, screenplay, soundtrack, actor, actress, supporting actor, supporting actress and first film. The best film statuette comes with a cash prize of TL 150,000 while the director of
the best first film receives a TL 30,000 prize. Turkish productions released throughout the past year are eligible for the competition.
Best Director:
Nuri B. Ceylan (Üç Maymun),
Özcan Alper (Sonbahar),
Çağan Irmak (Issız Adam),
Tolga Örnek (Devrim Arabaları),
Cem Yılmaz-Ali Taner Baltacı (A.R.O.G)
Best Male Actor:
Onur Saylak (Sonbahar),
Yavuz Bingöl (Üç Maymun),
Cem Yılmaz (A.R.O.G),
Çetin Tekindor (Ulak),
Taner Birsel (Devrim Arabaları)
Best Female Actor:
Hatice Aslan (Üç Maymun),
Nurgül Yeşilçay (Vicdan),
Demet Akbağ (O... Çocukları),
Ayça Damgacı (Gitmek),
Melis Birkan (Issız Adam)
Cem Yılmaz-Ali Taner Baltacı (A.R.O.G)
Best Male Actor in a Supporting Role:
Ercan Kesal (Üç Maymun),
Serkan Keskin (Sonbahar),
Selçuk Yöntem (Devrim Arabaları),
Volga Sorgu (Gitmek),
Zafer Algöz (A.R.O.G),
Altan Erkekli (O... Çocukları)
Best Female Actor in a Supporting Role:
Megi Kobalakzde (Sonbahar),
Selen Uçer (Ara), .Şerif Sezer (Ulak),
Yıldız Kültür (Issız Adam),
Özgü Namal (O... Çocukları)
Best Screenplay:
Özcan Alper (Sonbahar)
Çağan Irmak (Issız Adam)
Ebru Ceylan- Ercan Kesal-Nuri Bilge Ceylan (Üç Maymun)
T.Örnek/ M.Dişli (D.Arabaları)
Sırrı S. Önder (O... Çocukları)
Best Music:
Aria Müzik (Issız Adam)
Mazlum Çimen (Son Cellat)
Demir Demirkan (D. Arabaları)
Zülfü Livaneli (Vicdan)
Cahit Berkay (Yağmurdan Sonra
Evanthia Reboutsika (Ulak)
Best Cinematograpy:
Gökhan Tiryaki (Üç Maymun)
Feza Çaldıran (Sonbahar)
Soykut Turan (AROG)
Hasan Gergin (Devrim Arabaları),
Mirsad Heroviç (Ulak)
Young talent Award:
Ahmet R. Şungar (Üç Maymun)
Onur Ünsal (Devrim Arabaları)
Ozan Bilen (Girdap) .Atakan Yağız (Ulak)
Emrah Özdemir (Gitmek)
First Film Award:
Sonbahar
Devrim Arabaları
Gitmek
Bayrampaşa: Ben Fazla Kalmayacağım
120
‘Three Monkeys' snubbed in Oscar nominations
‘Three Monkeys' snubbed in Oscar nominations
"Üç Maymun" (Three Monkeys), Turkey's entry in this year's race for the best foreign-language film Oscar, did not make it into yesterday's nominations for this year's Academy Awards.Nuri Bilge Ceylan's Cannes best director prize-winning dark drama of family secrets was not included in the five-piece shortlist, consisting of Germany's "The Baader Meinhof Complex," France's "The Class," Japan's "Departures," "Revanche," from Austria and "Waltz with Bashir" from Israel.
"Üç Maymun" (Three Monkeys), Turkey's entry in this year's race for the best foreign-language film Oscar, did not make it into yesterday's nominations for this year's Academy Awards.Nuri Bilge Ceylan's Cannes best director prize-winning dark drama of family secrets was not included in the five-piece shortlist, consisting of Germany's "The Baader Meinhof Complex," France's "The Class," Japan's "Departures," "Revanche," from Austria and "Waltz with Bashir" from Israel.
Tuesday, January 13, 2009
3 Monkeys makes the Nine
The Academy of Motion Picture Arts & Sciences has whittled down its foreign-language contenders to nine semi-finalists. The five nominees will be announced, along with other categories, on Jan. 22. There had been 65 films that qualify. The Phase I committee, consisting of several hundred Los Angeles-based members, screened the 65 eligible films between mid-October and Jan. 10. That group's top six choices, augmented by three additional selections voted by the Academy's foreign-language film award executive committee, constitute the shortlist. The shortlist will be winnowed down to the five 2008 nominees by specially selected committees in New York and Los Angeles. The committee members will spend this Friday, Saturday and Sunday viewing three of the films each day. The Academy Awards for outstanding film achievements of 2008 will be presented on February 22, 2009.
The nine are:
Austria, "Revanche," Gotz Spielmann, director
Canada, "The Necessities of Life," Benoit Pilon, director
France, "The Class," Laurent Cantet, director
Germany, "The Baader Meinhof Complex," Uli Edel, director
Israel, "Waltz with Bashir," Ari Folman, director
Japan, "Departures," Yojiro Takita, director
Mexico, "Tear This Heart Out," Roberto Sneider, director
Sweden, "Everlasting Moments," Jan Troell, director
Turkey, "3 Monkeys," Nuri Bilge Ceylan, director.
Monday, January 05, 2009
Anılar arasında ‘Yaralı Kurt’
Anılar arasında ‘Yaralı Kurt’
28/11/2008
Hürrem Erman’ın yaşamöyküsünü geçmiş günlere dalıp giderek okudum. Rıza Kıraç roman tadında yazmış. Hürrem Erman’ı, Rıza Kıraç’ın doğduğu yıl tanıdım, 1970’te
SELİM İLERİ (Arşivi)
Can Yayınları’nın Yaşam dizisini elden geldiğince okuyorum. Elden geldiğince diyorum, çünkü, Rıza Kıraç’ın kaleme getirdiği Hürrem Erman/İzlenmemiş Bir Yeşilçam Filmi dizinin 122. kitabıymış. 2. sayfada öyle yazıyor. Bu 122 kitabın hepi topu kaçını okumuş olabilirim?
Hürrem Erman’ın yaşamöyküsünü geçmiş günlere dalıp giderek okudum. Rıza Kıraç roman tadında yazmış. “Bir edebiyat yazarı olarak kurmacanın, belgesel filmci olarak gerçeğin değerini her zaman önemsemişimdir” diyor. Kitabın başarısına bir anahtar.
Hürrem Erman’ı, Rıza Kıraç’ın doğduğu yıl tanıdım, 1970’te. Yeşilçam’ın Yeşilçam olduğu günlerdi. Mesela Erman Film, o yıl, Adsız Cengâver’in yapımevi. Adsız Cengâver, hem renkli hem sinemaskop. Hollywood filmlerinden sinemaskobu biliyoruz, ama yerlisini -galiba- ilk kez görüyoruz.
Unutamadığım Kezban Roma’da, yine aynı yıl çekilmiş. Yapımcı yine Hürrem Erman. Siyah-beyaz, fakat Avrupa’da geçen Küçükhanımefendi’lerden sonra, bu kez, Kezban Roma’ya gidiyor...
Benim Yeşilçam maceram da başladı başlayacak. Kemal Tahir’in evinde tanıştığım, Adsız Cengâver’in yönetmeni ve senaryo yazarı Halit Refiğ, Türk sinemasının genç senaryo yazarlarına ihtiyaç duyduğunu söylüyor. Halit beye hep sormak isterim, sonradan ne kadar pişman oldu... 15-20 gün sonra birlikte çalışmaya başlamıştık. Yeteneksizliğim, bilgisizliğim gözler önüne serilmişti.
Yapımevi, Erman Film değildi. Fakat bir gün, Erman Han’a uğradık. Senaryoda bir adım yol alamıyorum, ama Halit Refiğ hevesimi kırmıyor, beni yanında çanta gibi taşıyor.
Erman Han’ın en üst katı, Erman Film’in yazıhanesi güzel döşenmişti. Başka bir hava esiyordu burada. Büyük yapımevi nedir, birden fark ediyordunuz. Hürrem Erman, çok zarif, mesafeli, saygı uyandıran bir insandı.
Hem Halit Refiğ’le, hem Atıf Yılmaz’la senaryoculuk oyunum yetmemiş olmalı ki, 1971’de büyük usta Lütfi Ö. Akad’ın çırağıydım. Erman Film için sözüm ona Yaralı Kurt’u yazıyordum. Şimdi sözü, anlatıyı sevgili Rıza Kıraç’a bırakıyorum:
“Hürrem Erman, Lütfi Akad’ın Cüneyt Arkın’la bir film daha yapmasını ister. Akad o günlerde okuduğu Graham Greene’nin A Gun For Hire adlı romanından Cüneyt Arkın için bir film konusu çıkabileceğini düşünür.”
Hatırladığım kadarıyla, Hürrem bey, eski Hollywood yapımı, Green’in eserinden uyarlama bir filmi seyretmiş, Akad’a önermişti. Eserin Türkçesi Varlık Yayınları’nın kitapları arasında. Hürrem Erman’dan konuyu, temayı dinleyen Lütfi bey ise ne kitabı okumuş, ne filmi seyretmişti. Bir yerlerde yazmış olmalıyım; Akad ‘uyarlama’ya bambaşka yöntemlerle yaklaşır, yalnızca tema’yla, izlekle yetinir, bütünüyle ‘özgün’ bir yapı kurardı.
Kıraç devam ediyor:
“Yaralı Kurt adlı senaryoyu yazma işini o günlerde sinemaya yeni bulaşmış Selim İleri’yle yapmaya çalışsa da sonra bu işi tamamen ona bırakır. Fakat sonuç pek parlak olmaz. Yine de Akad, Hürrem Erman’a anlattığında filmin hikâyesini çok beğenir. (...) Ama senaryo pek işe yarar gibi görünmediği için Akad senaryo çalışmak zorunda kalır. (...) Kumbağ’da Yaralı Kurt’un senaryosunu yeniden yazar.”
Düzeltmek ihtiyacını duyuyorum:
Hatırlıyorum’da ve Anılar; Issız ve Yağmurlu’da dile getirmeye çalıştığım gibi, bende derin iz bırakmış eşsiz Akad, senaryo yazarlığı konusundaki bilgisizliğimi daha ikinci çalışma gününde fark etmişti. Yüzüme söylemeyecek kadar ulu gönüllüydü. Usta-çırak ilişkisi öylece başladı. Hayatımın en güzel günleri arasında saydığım bir dönem: Bir yandan Yaralı Kurt yazılıyor, yani Akad yazıyor, bir yandan da senaryo nasıl yazılır, bana öğretiyor. Diyaloglar azdırıyor, bekliyor, okuyor, tartıyor, seçiyor. Sahneler yazdırıyor, bekliyor, okuyor, düzeltiyor, çoğu kez yeniden yazıyor. Diyebilirim ki, Akad sinemada ilk ve tek öğretmenim oldu. O incelikli eğitimden sonra, Zeki Ökten’e Bir Demet Menekşe’yi yazmıştım...
Kıraç’ın kitabının dizininde adım geçmiyor.
Hürrem beyi en son, 1990’ların iyice sonunda, Beyoğlu’ndaki Pamuk Eczanesi’nde görmüştüm. Her zamanki lord haliyle. “Sizin sevdiğiniz sinema bitti” demişti, “o günler...”
Kıraç’ın eseri, çok etkileyici bir sonla noktalanıyor.
Saturday, January 03, 2009
Turkish B.O. 2008
Recep İvedik:
Production Cost: Not Declared...
Attendance: 4.301.644
Box office: 30.172.270 YTL
Shows profit
A.R.O.G
Production Cost: 9 000 000 $
Attendance: 3.123.541
Box office: 26.075.580 YTL
(Still in distribution)
Muro
Production Cost: 1.500 000 $
Attendance: 1.909.296
Box office: 15.979.701 YTL
Shows profit
Issız Adam
Production Cost: 1.500 000 $
Attendance: 1.558.393
Box office: 13.979701 YTL
Shows profit
Osmanlı Cumhuriyeti
Production Cost: 2.500 000 $
Attendance: 1.270.935
Box office: 10.474.756 YTL
Shows profit
Mustafa
Production Cost: 1 000 000 $
Attendance: 1.096.363
Box office: 8.487.141 YTL
Shows profit
120
Production Cost: 1.100 000 $
Attendance: 1.033.917
Box office: 5.019.832 YTL
Shows profit
Maskeli Beşler Kıbrıs
Production Cost: 3.800 000 $
Attendance: 960.979
Box office: 6.795.141 YTL
Shows loss
Çılgın Dersane Kampta
Production Cost: Not Declared.
Attendance: 899.314
Box office: 6.314.199 YTL
Not Declared
O... Çocukları
Production Cost: 1000 000 50 000 $
Attendance: 713.546
Box office: 5.307.359 YTL
Shows profit
Ulak
Production Cost: 4 000 000 $
Attendance: 523.745
Box office: 3.983.330 YTL
Shows loss
Avanak Kuzenler
Production Cost: Not Declared.
Attendance: 393.546
Box office: 2.920.448 YTL
Not Declared
Aşk Tutulması
Production Cost: 680 000 $
Attendance: 363.089
Box office: 2.795.904 YTL
Shows profit
Semum
Production Cost: 610 000 $
Attendance: 334.168
Box office: 2.248.907 YTL
Shows profit
Destere
Production Cost: 900 000 $
Attendance: 248.279
Box office: 1.817.115 YTL
Shows loss
Plajda
Production Cost: 450 000 $
Attendance: 214.465
Box office: 1.526.145 YTL
Shows profit
Süper Ajan K9
Production Cost: 1 000 000 $
Attendance: 190.930
Box office: 1.396.035 YTL
Shows loss
Devrim Arabaları
Production Cost: 780 000 $
Attendance: 144.612
Box office: 1.280.382 YTL
Shows loss
Vicdan
Production Cost: 1.100 000 $
Attendance: 157.092
Box office: 1.229.454 YTL
Shows loss
3 Maymun
Production Cost: 2 000 000 $
Attendance: 125.247
Box office: 1.164.662 YTL
Shows loss
Son Ders
Production Cost: 750 000 $
Attendance: 118.845
Box office: 822.961 YTL
Shows loss
Bayrampaşa
Production Cost: 350 000 $
Attendance: 104.976
Box office: 735.296 YTL
Shows loss
Aşkın Dansı
Production Cost: 400 000 $
Attendance: 65.183
Box office: 407.785 YTL
Shows loss
Güneşin Oğlu
Production Cost: 380 000 $
Attendance: 58.135
Box office: 424.669 YTL
Shows loss
Girdap
Production Cost: 410 000 $
Attendance: 48 382
Box office: 324 431 YTL
Shows loss
2008
Turkish Films
Total: 44
Attendance: 20 276 406
Total Box office: 153 872 211 YTL
Foreign Films
Total: 220
Attendance: 15 936 426
Total Box office: 134 737 646 YTL
2007
Turkish Films
Total: 32
Attendance: 11 875 724
Total Box office: 92 333480 YTL
Foreign Films
Total: 206
Attendance: 19 285 976
Total Box office: 149 948 20 YTL
1 YTL = US$ 0.65
Production Cost: Not Declared...
Attendance: 4.301.644
Box office: 30.172.270 YTL
Shows profit
A.R.O.G
Production Cost: 9 000 000 $
Attendance: 3.123.541
Box office: 26.075.580 YTL
(Still in distribution)
Muro
Production Cost: 1.500 000 $
Attendance: 1.909.296
Box office: 15.979.701 YTL
Shows profit
Issız Adam
Production Cost: 1.500 000 $
Attendance: 1.558.393
Box office: 13.979701 YTL
Shows profit
Osmanlı Cumhuriyeti
Production Cost: 2.500 000 $
Attendance: 1.270.935
Box office: 10.474.756 YTL
Shows profit
Mustafa
Production Cost: 1 000 000 $
Attendance: 1.096.363
Box office: 8.487.141 YTL
Shows profit
120
Production Cost: 1.100 000 $
Attendance: 1.033.917
Box office: 5.019.832 YTL
Shows profit
Maskeli Beşler Kıbrıs
Production Cost: 3.800 000 $
Attendance: 960.979
Box office: 6.795.141 YTL
Shows loss
Çılgın Dersane Kampta
Production Cost: Not Declared.
Attendance: 899.314
Box office: 6.314.199 YTL
Not Declared
O... Çocukları
Production Cost: 1000 000 50 000 $
Attendance: 713.546
Box office: 5.307.359 YTL
Shows profit
Ulak
Production Cost: 4 000 000 $
Attendance: 523.745
Box office: 3.983.330 YTL
Shows loss
Avanak Kuzenler
Production Cost: Not Declared.
Attendance: 393.546
Box office: 2.920.448 YTL
Not Declared
Aşk Tutulması
Production Cost: 680 000 $
Attendance: 363.089
Box office: 2.795.904 YTL
Shows profit
Semum
Production Cost: 610 000 $
Attendance: 334.168
Box office: 2.248.907 YTL
Shows profit
Destere
Production Cost: 900 000 $
Attendance: 248.279
Box office: 1.817.115 YTL
Shows loss
Plajda
Production Cost: 450 000 $
Attendance: 214.465
Box office: 1.526.145 YTL
Shows profit
Süper Ajan K9
Production Cost: 1 000 000 $
Attendance: 190.930
Box office: 1.396.035 YTL
Shows loss
Devrim Arabaları
Production Cost: 780 000 $
Attendance: 144.612
Box office: 1.280.382 YTL
Shows loss
Vicdan
Production Cost: 1.100 000 $
Attendance: 157.092
Box office: 1.229.454 YTL
Shows loss
3 Maymun
Production Cost: 2 000 000 $
Attendance: 125.247
Box office: 1.164.662 YTL
Shows loss
Son Ders
Production Cost: 750 000 $
Attendance: 118.845
Box office: 822.961 YTL
Shows loss
Bayrampaşa
Production Cost: 350 000 $
Attendance: 104.976
Box office: 735.296 YTL
Shows loss
Aşkın Dansı
Production Cost: 400 000 $
Attendance: 65.183
Box office: 407.785 YTL
Shows loss
Güneşin Oğlu
Production Cost: 380 000 $
Attendance: 58.135
Box office: 424.669 YTL
Shows loss
Girdap
Production Cost: 410 000 $
Attendance: 48 382
Box office: 324 431 YTL
Shows loss
2008
Turkish Films
Total: 44
Attendance: 20 276 406
Total Box office: 153 872 211 YTL
Foreign Films
Total: 220
Attendance: 15 936 426
Total Box office: 134 737 646 YTL
2007
Turkish Films
Total: 32
Attendance: 11 875 724
Total Box office: 92 333480 YTL
Foreign Films
Total: 206
Attendance: 19 285 976
Total Box office: 149 948 20 YTL
1 YTL = US$ 0.65
Saturday, December 27, 2008
Variety Article | Turkish box office is up
Turkish box office is up | Local hits have helped attract private money
By NICK HOLDSWORTH | Fri., Oct. 3, 2008,
As Turkey's Golden Orange Film Festival gets ready to kick off its 45th year, local films are burning up the wickets, with domestic pics set to capture some 50% of the country's box office this year.
A wave of local hits -- dominated by comedies and action movies -- has helped attract private money and investment from TV companies in home-grown product, Turkish film industry professionals say.
Box office figures for 2008 through August show the top six positions all taken by Turkish films, with comedy "Recep Ivedik" at the top of the list, pulling in 4.3 million viewers since its release late February.
"We are witnessing an explosion in the number of films being produced in Turkey," says Ahmet Boyacioglu, chairman of the Ankara Cinema Assn. "Two years ago, a couple of dozens films were produced, last year 43 (were made) and this year already around 60. Currently there are some 30 films waiting to be released, reflecting films from across a range of genres -- comedies, arthouse, personal (auteur) films."
Boyacioglu says it is hard to identify precisely what factors have contributed to the sharp increase in interest among audiences in domestic movies, but notes that institutional and industry investors have been quick to capitalize on it.
"Television channels are increasingly interested in buying films before they are shot, and we even have an example of a single private investor putting up the entire $2 million budget for one film currently in production," Boyacioglu adds.
Market share for Turkish films went from just 13% in 2002 to 51% in 2006, he says. Although the share dipped to 38% last year, latest figures suggest that by year's end the figure will be back up around 50%, with "Recep Ivedik" accounting for approximately 12% of total market share based on an average annual audience in Turkey of 30 million-35 million.
Figures like that are knocking some of Hollywood's best efforts off the charts: "Indiana Jones and the Kingdom of the Crystal Skull" pulled in just 323,000 viewers.
"It's a disaster for American films. Why the Turkish people have decided to watch more Turkish films over the last six years I don't know, but now anyone with any interest or opportunity in cinema wants to make a film here," Boyacioglu says.
Although many of the blockbuster local films will rarely be seen beyond Turkey's borders -- or outside its large diaspora communities in countries such as Germany -- festival fare is also enjoying a new wave.
Turkish films have been featured heavily in the competition and showcase programs of virtually all European film festivals this year, with Nuri Bilge Ceylan's taking the director prize at Cannes this year for "Three Monkeys."
Other Turkish pics on festival and award radars include "Pandora's Box" by Yesim Ustaoglu; "Milk" by Semi Kaplanoglu; "Autumn" by Ozcan Alper; "My Marlon and Brando" by Huseyin Karabey; and Seyfi Teoman's feature debut "Summer Book."
Deniz Ziya Temeltas, of the Eurasia Production Platform and Film Market -- a professional sidebar that runs during the Eurasia film festival in Antalya -- says local films look likely to remain a force in Turkey for the foreseeable future.
"With the arrival of new festivals, production platforms and markets as well as various new media, there is a question whether the U.S. will be able keep its market share," Ziya Temeltas says. "More and more local productions are airing on primetime TV. ... In Turkey, there is not a U.S. series on a major network in primetime."
By NICK HOLDSWORTH | Fri., Oct. 3, 2008,
As Turkey's Golden Orange Film Festival gets ready to kick off its 45th year, local films are burning up the wickets, with domestic pics set to capture some 50% of the country's box office this year.
A wave of local hits -- dominated by comedies and action movies -- has helped attract private money and investment from TV companies in home-grown product, Turkish film industry professionals say.
Box office figures for 2008 through August show the top six positions all taken by Turkish films, with comedy "Recep Ivedik" at the top of the list, pulling in 4.3 million viewers since its release late February.
"We are witnessing an explosion in the number of films being produced in Turkey," says Ahmet Boyacioglu, chairman of the Ankara Cinema Assn. "Two years ago, a couple of dozens films were produced, last year 43 (were made) and this year already around 60. Currently there are some 30 films waiting to be released, reflecting films from across a range of genres -- comedies, arthouse, personal (auteur) films."
Boyacioglu says it is hard to identify precisely what factors have contributed to the sharp increase in interest among audiences in domestic movies, but notes that institutional and industry investors have been quick to capitalize on it.
"Television channels are increasingly interested in buying films before they are shot, and we even have an example of a single private investor putting up the entire $2 million budget for one film currently in production," Boyacioglu adds.
Market share for Turkish films went from just 13% in 2002 to 51% in 2006, he says. Although the share dipped to 38% last year, latest figures suggest that by year's end the figure will be back up around 50%, with "Recep Ivedik" accounting for approximately 12% of total market share based on an average annual audience in Turkey of 30 million-35 million.
Figures like that are knocking some of Hollywood's best efforts off the charts: "Indiana Jones and the Kingdom of the Crystal Skull" pulled in just 323,000 viewers.
"It's a disaster for American films. Why the Turkish people have decided to watch more Turkish films over the last six years I don't know, but now anyone with any interest or opportunity in cinema wants to make a film here," Boyacioglu says.
Although many of the blockbuster local films will rarely be seen beyond Turkey's borders -- or outside its large diaspora communities in countries such as Germany -- festival fare is also enjoying a new wave.
Turkish films have been featured heavily in the competition and showcase programs of virtually all European film festivals this year, with Nuri Bilge Ceylan's taking the director prize at Cannes this year for "Three Monkeys."
Other Turkish pics on festival and award radars include "Pandora's Box" by Yesim Ustaoglu; "Milk" by Semi Kaplanoglu; "Autumn" by Ozcan Alper; "My Marlon and Brando" by Huseyin Karabey; and Seyfi Teoman's feature debut "Summer Book."
Deniz Ziya Temeltas, of the Eurasia Production Platform and Film Market -- a professional sidebar that runs during the Eurasia film festival in Antalya -- says local films look likely to remain a force in Turkey for the foreseeable future.
"With the arrival of new festivals, production platforms and markets as well as various new media, there is a question whether the U.S. will be able keep its market share," Ziya Temeltas says. "More and more local productions are airing on primetime TV. ... In Turkey, there is not a U.S. series on a major network in primetime."
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