Nuri Bilge Ceylan - President The Jury
He was born in İstanbul in 1959.
He studied at the Department of Chemistry in İstanbul Technical University; however, he had to leave the school after two years because of the political chaos of that period.
In 1978, he started to study at the Department of Electrical Engineering in Bosphorus University. After graduating from Bosphorus University, he studied cinema in Mimar Sinan University for two years.
He started his cinema career as a director with his short movie, Koza (Cocoon), which was also screened at the competition of Cannes Film Festival in 1995.
He shot his first feature film, Kasaba (The Small Town), which was a story being composed of three episodes composed of pastoral and autobiographic stories. Kasaba was shown in many international festivals including Berlin Film Festival. His second feature film dated 1999, Mayıs Sıkıntısı (Clouds of May), was selected to the competition in Berlin Film Festival.
With his third film ”Uzak” (Distant) he won the Grand Prix and Best actor Award at 2003 Cannes Film Festival. Nuri Bilge Ceylan’s next film was “İklimler” (Climates) which won the FIPRESCI Prize in Cannes Film Festival in 2006.
Competing at the 61st Cannes Film Festival with his 2008 film ÜÇ MAYMUN (Three Monkeys), Nuri Bilge won the Best Director award. ÜÇ MAYMUN later went on to become the first Turkish film to make the Oscar shortlist in the Academy Awards Foreign Language Film category.
In 2009, he returned to Cannes, this time as a member of the main competition jury.
Filmleri / Filmography
2008 Üç Maymun
2006 İklimler
2002 Uzak
1999 Mayıs Sıkıntısı
1997 Kasaba
1995 Koza (Kısa film)
Bulut Aras
He was born in Yukarı Şamlı Willage of Denizli in 1953. After he had garduated from Denizli Commerce High School, he studied at Commerce Academy of the Marmara University. He was selected as the first in the Cinema, Pictorial and TV Contest which was organized by The Tercuman Newspaper.
He started to act in the film of “Hain” in 1976. He had a place in more than 50 cinema film and in more than 10 tv films. He played in many tv series in 90s. His last film he had played was “Büyük Şeytan Üçgeni” was directed by Yücel Ünlü. The films in which he played and some important films in Turkish Cinema History.
Sultan (1978) , Tatlı Nigar (1978), Minik Serçe (1979), Derya Gülü (1979), Toprağın Teri (1981), Bir Zamanlar Kardeştiler (1983), Kahreden Kurşun (1983), Öç (1984), Kabadayı (1986), Sahibini Arayan Madalya (1989), Kiralık Kadın (2000)...
Bulut Aras is married and he has a son named Onur Destan. He is the 17th Founder member of Cinema Players Assosication (SODER) and he is still member of Comtemporary Cinema Players Assosication(CASOD).
Füruzan
Füruzan won the 1972 Sait Faik Story Prize for her very first work, Parasız Yatılı. She is a self-taught author; after elementary school she had no formal education. Her original and attractive use of the stream-of-conciousness technique and her spectrum of striking characters have made her a remarkable name among the contemporary Turkish short story writers. The plight of helpless women, middle-class families fallen on hard times, refugees victimized because of their “otherness” are her major themes. Füruzan is noted for her deep exploration of characters and a narrative style based on telling detail. In 1975 she was invited to Berlin under the DAAD program and remained there for a year interviewing workers and artists. Her work “Benim Sinemalarım-My Cinemas” was screened during Cannes International Film Festival and awarded at Iranian Fecr Festival and Tokyo Film Festival in 1991. Her work has been translated into several foreign languages. She is the honorary author of Istanbul TUYAP Book Fair 2008.
Story: Parasız Yatılı (1971), Kuşatma (1972), Benim Sinemalarım (1973), Gül Mevsimidir (uzun öykü, 1973), Gecenin Öteki Yüzü (1982), Sevda Dolu Bir Yaz (1999).
Novel: Kırk Yedi’liler (1974), Berlin’in Nar Çiçeği (1988).
Interview: Yeni Konuklar (1977).
Travel book: Evsahipleri (1981), Balkan Yolcusu (1994).
Play: Redife’ye Güzelleme (1981), Kış Gelmeden (1997).
Childrens book: Die Kinder der Türkei (1979, Türkiye Çocukları).
Poetry: Lodoslar Kenti (1991).
Yaşantı: Füruzan Diye Bir Öykü (Hazırlayan: Faruk Şüyün, 2008).
Mazlum Çimen
He was born in the willage of Sevdilli Elbistan/Kahramanmaraş in 1958. He graduated from Selahattin Karakaşlı Primary School in Anadolu Hisarı Kavacık.
He entered Violin Department of State Consarvatuary 4 years later, he entered the Ballet Department of the same school. He graduated in 1981 and started to work as a Ballet in Istanbul Satete Ballet and Opera Hause.
He started his musical works when he was child by playing Baglama (A local Instrument), he went on his musical works by selecting Turkus from Anatolia. Later he started to compose his own songs at the very beginning of 80s. He started to compose film musics with the support of İhsan Yüce, but he got his biggest support from Onat Kutlar.
“Aysarın Zilleri” (The Bells of Aysar) was his 1st work. Then He composed "Mem u Zin" much more willingly. In turns, “Soğuk Geceler" (Cold Nihgts), "Hollywood Kaçakları", "Işıklar Sönmesin", "Nazım Hikmet Ziyaretçin Var, "Gönlümdeki Köşk Olmasa”, "Büyük Adam Küçük Aşk”, "Oyun", "Son Cellat”, "Umut" .He composed for films, tv series and documentaries. He composed the theatre musics, "Yunus Emre" (1989 Diyarbakır State Theatre), "Ferhat ve Şirin" (İstanbul City Theatre).
He got 3 Golden Boll, 4 Golden Orange,1 Ankara Hititís Sun Best Film Music Prize, 1 Orhan Murat Arıburnu Prize, 1 Swiss Prize and he got Best Film Music Prize in 2008 Montpellier/France Film Festival. He has totally 14 Best Film Music Awards, he has gotten every Best Film Music Award which he has been nominated.
He played in "Hababam Sınıfı Güle Güle"(Bye Bye Hababam Classroom), "Hoşçakal Yarın"(Good bye Tomorrow), "Gönlümdeki Köşk Olmasa"(What if I didnít have that Pavilion in my hearth), "Anlat İstanbul"(Tell me, Istanbul), "Son Cellat"(The Last Hangman), "Umut"(The Hope) films.
Meltem Cumbul
After having graduated from drama school in İstanbul, Meltem Cumbul began her career in London at the age of 21. On her return from Londan, she hosted 150 episodes of the game show Card Sharks during the years 1993-94. Her main passion being drama, in the same years she acted as the Lead actress in Marguerite Duras’ play “Lyrics of Farewell”. She then both produced and directed Arnold Wesker’s “Four Seasons’’. Because she thought that acting in movies is different from Theatre, she did not prefer leading roles and she acted as supporting actress in her first full-lengt films, Sinan Çetin’s ‘’Mr.E’’ and Ümit Elçi’s “Insect’’.
In the same year, the fukk-length film Barış Pirhasan’s “Isaac’s Story’’ hosted her as supporting actress. In 1997, she was the leading actress in the musical “Tell, Scheherazade, Tell” and Umut Turagay’s full-lenght film “Mixed Pizza’’, in which she played a ruthless female cutthroat. The year 1999 saw her as the leading actress of Sinan Çetin’s “Propaganda’’ in which she wrote her own lines and in the Iranian director Houchang Allahyari’s film “Geboren in Absurditan”, where she acted in german despite not speaking the language. She also began acting in the TV serial drama “Yılan Hikayesi” which to this date holds the title of having the highest ratings in the history of Turkish television.
She was leading actress in Yalçın Yelence’s film “The Trial”. In 2001, she sportted the experimental modern dans troupe MDT in their performance “Travelogue” and was the starring actress in the film “Maruf” by Serdar Akar. She won the Golden Orange Prize for Best Leading Actress in the International Antalya Film Festival, with her rendition of a fictional female character depicting the tumultous times of the Ottoman Sultan Abdülhamid in Ziya Öztan’s “Abdülhamit Düşerken”. In 2003, she was the guest starring actress in Fatih Akın’s “Gegen Die Wand” which won the Golden Bear Prize for Best Film in Berlinale. She was the leading actress in “The Taming of the Shrew” which had become the most successful Shakespeare rendition that is put on stage by İstanbul Municipality Theatres in Turkey in 2004. Recently she played in “Comedy of Miracles”, a musical she takes part in as the leading actress again in “Lovelorn” where she shares the head roles with actor Şener Şen.
Özcan Alper
Özcan Alper was born in Hopa, Artvin in 1975. After he had studied in Physic Departmant of Science Faculty in Istanbul University between 1992-1996 years, he continued his education in Science History Department in Faculty of Letters in Istanbul University. Then, he was graduated in 2003. He joined MKM cinema workshop between 1996 - 1999 years and cinema seminary of Nazım Culture Center and workshop between 1999-2001. He took a directory prize with documentary film with 25 minutes documentary which was “Rapsody and Melancoly in Tokai City” in 2005 in Japan. He took Jury Special Prize in International Friendship Film Festival (2005). In 2004, he was awarded with continuity writer and directory prizes with 60 minutes documentary film which was called “Voyage In Time With a Scientist”. In 2001, he was awarded with directory and writer awards with a 25 minutes short film that was called “MOMI/Grand Mother” and he took special sight prize from International Yerevan Short Film Festival in 2002. His first feature film he directed, SONBAHAR, was awarded 3 three times including The Best Film in 15th International Golden Boll Film and The Film also got The Art & Essay Cicae Prize in 61st Locarno Film Festival, 7 prize including The Best Film in 20th Ankara International Film Festival, 4 prize including The Best Film in SIYAD Awards, The Best First Film Prize in Yeşilçam Awards, Silver Prometus Prize in Tiflis Film Festival, Netpac Jury Prize in International Eurasia Film Festival. He also got many prizes in International and national film festivals.
Filmleri / Filmography:
2008 Sonbahar
2005 Tokai City’de Rapsodi ve Melankoli (Belgesel / Documentary)
2004 Bir Bilim Adamıyla Zaman Enlem’inde Yolculuk (Belgesel / Documentary)
2001 MOMİ / Büyükanne (Kısa Film/Short Film)
Özgü Namal
She was born in İstanbul in 1978. She studied at Uskudar Cumhuriyet High School and Theatre Department of Istanbul Universty State Consarvatory. She took acting and dancing courses.
She got her first role in the play named APACIK in Theatre Fora in 2001. She had roles in Play It Again Sam (2001), Taraf Tutmak (2003), Kiralık Oyun 2005), Yan Etkili Konuşmalar (2007).
She got Best Actres Prize in the category of Comedy with her role in Kiralık Oyun in the Afife Theatre Awards and Sadri Alışık Theatre Awards.
She played in TV Films named Havada Bulut (2003), Kerem, Bir Filiz Vardı. She was hostess in tv programs named Koca Kafalar and Güldür Bakalım, she also played in many tv series and advertisement.
She started her movie career with the film “Sır Çocukları” the director of which was Ümit Cin Güven in 2002. She got the Best Promising Actress Awards with this film in National Competition Part of the 14th International Ankara Film Festival.
She acted in many cinema films and won awards. The films she acted in are Büyü (2004), Anlat İstanbul (2005), Organiz İşler (2005), Beynemilel (2006), Polis (2007), Mutluluk (2007), O… Çocukları (2008) ve İncir Çekirdeği(2009).
She got the Best Actrees Awards with her performance in Beynelmilel in İstanbul Film Festival in 2007.
She got the Best Actrees Awards with her acting character of Meryem in the film “Mutluluk” which Abdullah Oğuz directed, in many festivals such as Altın Portakal Film Festival, Siyad Awards, Beyaz İnci Awards, Oxfords Film Festival and Pune Film Festival.
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Uğur İçbak
He was born in Manisa on 31st of December in 1963. He entered the Mimar Sinan University Cinema-Tv Center as a guest student, but later he graduated from the same school as the real student. He spent his Assistantship Phase with foreign image directors who were shooting long measurements films in Turkey.
When his succes, in short films he shot as image director, was realized at once, he channelled to Cinema and Advertisemnt sector. His interest to aviation met Cinema and after he got his special Pilot licence, he realized many foreign and local Projects air shootings.
Uğur İçbak has shooted 13 Long mesurement Films most of Which would be milestone for Turkish Cinema History many advertisemnts and many clips for songs. With The long measurements films which he directed when he was still student, he was awarded 2 times in The Best Cinematography in Golden Orange and 1time in SIYAD Awards (Cinema Writers Association).
Uğur İçbak attends courses in Türsak Foundation as a tutor and gives applied lessons on “Illumuniation Techniques” regularly. He also works as an instructor in Mimar Sinan University Cinema and Tv Department. He teaches “Shooting and After Shooting Techniques” and he also opens workshops in varied universities Cinema Department.
Görüntü Yönetmenliğini yaptığı uzun metrajlı filmler;
2009 NEŞELİ HAYAT
2008 OSMANLI CUMHURİYETİ
2006 HOKKABAZ
2005 ORGANİZE İŞLER
2003 VİZONTELE-TUUBA
2000 HEMŞO
1999 KAHPE BİZANS
1998 HOŞÇAKAL YARIN
1996 EŞKIYA
1995 İSTANBUL KANATLARIMIN ALTINDA
1994 İZ
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Prof. Dr. Zeynep Tül Akbal Sualp
She has been teaching cinema, media and cultural studies in various Universities in Istanbul and gave lectures at Humbold University in Berlin as a visiting Professor last year. She recently has become the faculty member of Cinema and TV Department at Bahcesehir University in Istanbul. She has her BA degree in Psychology and studied Political Science, Cinema Studies and Sociology (Cultural Studies) in New York and İstanbul in MA and PhD levels. She has been writing articles on cultural studies, cinema and critical theory in some journals and the editor of Kültür ve Toplum 1/ Culture and the Society 1, (Hil, 1995), Oyun/ Play (2002) and the author of the book titled ZamanMekan: Kuram ve Sinema/TimeSpace: Theory and Cinema (Bağlam 2004) and co-author of the short fiction: Wanting Book Odd Notebook. (MudamCamp de Base & :mentalKLİNİK, 2004) and also co-author of the book titled From Liberties To Losses and Afterwards (De-Ki 2008) Her recent research interest includes «space and time in cinema and culture », « urban space and cinema », and « technology culture and public sphere»
Sunday, June 14, 2009
Turkish films of Altın Koza (Golden Boll) Film Festival 2009
There is a wide selection of movies running for the National Competition in the Golden Boll Film Festival. The list includes films from newcomers and renowned directors. Turkey’s pride, Nuri Bilge Ceylan heads the jury.
There is an impressive selection of Turkish movies running for the National Competition in the Altın Koza (Golden Boll) Film Festival. The list includes movies that have won awards in national and international festivals, those released last year and waiting their release dates, films from newcomers and experienced directors, coming-of-age stories, and tragedies of family and love.
The jury member in this year’s Cannes Film Festival, Nuri Bilge Ceylan, will head the jury, which include acclaimed names like writer Füruzan, actors Özgü Namal, Bulut Aras, Meltem Cumbul, director Özcan Alper, cinematographer Uğur İçbak, and movie critic Zeynep Tül Akbal Süalp.
Little children, teachers and the bogeyman
The documentary directing duo Orhan Eskiköy and Özgür Doğan return with another unique film in which they blur the lines between reality and fiction. "İki Dil Bir Bavul" (On the Way to School) follows a Turkish teacher throughout the course of one school year as he tries finding ways to communicate with Kurdish children in a village. He doesn’t speak Kurdish, the children don’t speak Turkish, resulting in a unique film selected last year for the competition in the Joris Ivens Award at the Amsterdam International Documentary Festival.
Director, writer and producer Atalay Taşdiken delves further into the world of children with his debut feature "Mommo" (Bogeyman). Inspired by real-life events, the film tells the story of 9-year-old Ali, forced to take responsibility as the elder brother to his sister, Ayşe, as the siblings are separated from their father because of a new stepmother. Mommo is the bogeyman, adding further fear to Ayşe’s unstable life. The film debuted recently in the Berlin Film Festival.
The second movie in director and writer Cemal Şan’s "Soul, Mind and Heart" trilogy, "Dilber’in Sekiz Günü" (Dilber’s Eight Days) becomes the "Soul" of the trilogy. The film takes an inspiring look at the arranged marriages in rural Turkey. Set in a village in Southeast Turkey, Dilber’s life turns upside down when she finds out that her childhood sweetheart Ali’s family set him up for an arranged marriage. In an act of desperation and frustration, Dilber announces that she’s ready to marry the first suitor that comes along. The film went on to win various awards in national film festivals, including for two of its actors, Nesrin Cavadzade and Fırat Tanış.
Last year, "Vicdan" (Conscience) marked the return and the jubilee of one of Turkish cinema’s masters, Erden Kıral, who brought us such classics like "Dilan," "Hakkari’de Bir Mevsim" (A Season in Hakkari) and "Mavi Sürgün" (The Blue Exile) in the past. The film was inspired by the third page news of newspapers, focusing on scandal, family tragedies and sexual escapades gone wrong in Turkey’s lower class. "Vicdan" takes us to a small town, to the impending doom of a love triangle. Both actresses have won prestigious awards, with Nurgül Yeşilçay bringing home the Best Actress award in the Golden Oranges while Tülin Özen won the Turkish Film Critics' Association award for Best Supporting Actress.
Mahmut Fazıl Coşkun’s debut film "Uzak İhtimal" (Wrong Rosary) meets the audience hot on the heels of winning the Tiger Award given to the Best Film in the Rotterdam Film Festival. What’s more impressive is that the film was the first Turkish film to compete at the festival. The film tells the moving story of a love between a müezzin (caller of daily prayer for Muslims), and a prospective nun, and their friendship with an elderly bookseller in Istanbul.
Known for his work on TV, Murat Düzgünoğlu enters the competition with his debut feature, "Hayatın Tuzu" (The Salt of Life). The film tells the story of a widow living in the eastern city of Bitlis, and her relations with her four adult children who are too attached to her for their own good. The events unfold as when the fourth child returns from Istanbul to join his siblings, an imam, a worker in a tobacco factory and a student. The film won the Special Jury prize in the recent İpek Yolu Film Festival in Bursa.
Between city and village
Adapted from novelist Hasan Ali Toptaş’s award-winning cult novel "Gölgesizler" (The Shadowless), experienced writer and director Ümit Ünal turns an Anatolian village into a dreamscape with its bizarre characters and intricate relations. A barber working in Istanbul longs to be "both here and far, far away." And one day, abruptly, he takes off, and travels far away, to a village that is nowhere and at no time.
There is an impressive selection of Turkish movies running for the National Competition in the Altın Koza (Golden Boll) Film Festival. The list includes movies that have won awards in national and international festivals, those released last year and waiting their release dates, films from newcomers and experienced directors, coming-of-age stories, and tragedies of family and love.
The jury member in this year’s Cannes Film Festival, Nuri Bilge Ceylan, will head the jury, which include acclaimed names like writer Füruzan, actors Özgü Namal, Bulut Aras, Meltem Cumbul, director Özcan Alper, cinematographer Uğur İçbak, and movie critic Zeynep Tül Akbal Süalp.
Little children, teachers and the bogeyman
The documentary directing duo Orhan Eskiköy and Özgür Doğan return with another unique film in which they blur the lines between reality and fiction. "İki Dil Bir Bavul" (On the Way to School) follows a Turkish teacher throughout the course of one school year as he tries finding ways to communicate with Kurdish children in a village. He doesn’t speak Kurdish, the children don’t speak Turkish, resulting in a unique film selected last year for the competition in the Joris Ivens Award at the Amsterdam International Documentary Festival.
Director, writer and producer Atalay Taşdiken delves further into the world of children with his debut feature "Mommo" (Bogeyman). Inspired by real-life events, the film tells the story of 9-year-old Ali, forced to take responsibility as the elder brother to his sister, Ayşe, as the siblings are separated from their father because of a new stepmother. Mommo is the bogeyman, adding further fear to Ayşe’s unstable life. The film debuted recently in the Berlin Film Festival.
The second movie in director and writer Cemal Şan’s "Soul, Mind and Heart" trilogy, "Dilber’in Sekiz Günü" (Dilber’s Eight Days) becomes the "Soul" of the trilogy. The film takes an inspiring look at the arranged marriages in rural Turkey. Set in a village in Southeast Turkey, Dilber’s life turns upside down when she finds out that her childhood sweetheart Ali’s family set him up for an arranged marriage. In an act of desperation and frustration, Dilber announces that she’s ready to marry the first suitor that comes along. The film went on to win various awards in national film festivals, including for two of its actors, Nesrin Cavadzade and Fırat Tanış.
Last year, "Vicdan" (Conscience) marked the return and the jubilee of one of Turkish cinema’s masters, Erden Kıral, who brought us such classics like "Dilan," "Hakkari’de Bir Mevsim" (A Season in Hakkari) and "Mavi Sürgün" (The Blue Exile) in the past. The film was inspired by the third page news of newspapers, focusing on scandal, family tragedies and sexual escapades gone wrong in Turkey’s lower class. "Vicdan" takes us to a small town, to the impending doom of a love triangle. Both actresses have won prestigious awards, with Nurgül Yeşilçay bringing home the Best Actress award in the Golden Oranges while Tülin Özen won the Turkish Film Critics' Association award for Best Supporting Actress.
Mahmut Fazıl Coşkun’s debut film "Uzak İhtimal" (Wrong Rosary) meets the audience hot on the heels of winning the Tiger Award given to the Best Film in the Rotterdam Film Festival. What’s more impressive is that the film was the first Turkish film to compete at the festival. The film tells the moving story of a love between a müezzin (caller of daily prayer for Muslims), and a prospective nun, and their friendship with an elderly bookseller in Istanbul.
Known for his work on TV, Murat Düzgünoğlu enters the competition with his debut feature, "Hayatın Tuzu" (The Salt of Life). The film tells the story of a widow living in the eastern city of Bitlis, and her relations with her four adult children who are too attached to her for their own good. The events unfold as when the fourth child returns from Istanbul to join his siblings, an imam, a worker in a tobacco factory and a student. The film won the Special Jury prize in the recent İpek Yolu Film Festival in Bursa.
Between city and village
Adapted from novelist Hasan Ali Toptaş’s award-winning cult novel "Gölgesizler" (The Shadowless), experienced writer and director Ümit Ünal turns an Anatolian village into a dreamscape with its bizarre characters and intricate relations. A barber working in Istanbul longs to be "both here and far, far away." And one day, abruptly, he takes off, and travels far away, to a village that is nowhere and at no time.
Tuesday, June 09, 2009
16th Altın Koza International Film Festival goes to School
"ON THE WAY TO SCHOOL" is at 16th Altın Koza International Film Festival in Adana (www.altinkozafestivali.org.tr) on 8-14 June 2009. The film has been selected for National Competition.
Orhan Eskikoy Born in 1980, Istanbul, Turkey. He graduated from the Department of Public Relations, Faculty of Communication, Ankara University in 2004. The films which he produced at the university have been successful in many national and international festivals. At the same time he has worked in different projects as assistant of director and cameraman. He worked at the Centre of Distance Education as a Video Production Expert between 2005-2007.
Gn. Zeki Doğan Mah. 12. Sok. No: 26/1
Mamak-ANKARA / TURKEY
Fax: + 90 312 210 35 90
e-mail: perisanfilm@gmail.com
URL: http://www.perisanfilm.com
Ozgur Dogan Born in 1977, Varto, Turkey. He graduated from the Department of Radio-TV and Cinema, Faculty of Communication, Ankara University in 2001. He is working as a Research Assistant at the Middle East Technical University and working on documentary video production independently.
Filmography
- Each Dream is a Shattered Mirror (2001 - 32 min.)
- Mothers and Children (2004 - 28 min.)
- Suffering (2004 - 46 min.)
- Together (2006 - 36min.)
Zeynel Dogan Born in 1977, Varto, Turkey. He graduated from the Department of Radio-TV and Cinema, Faculty of Communication, Ankara University in 2001. He is working as a Research Assistant at the Middle East Technical University and working on documentary video production independently.
FESTIVALS
- Edinburgh International Film Festival | 17-28 June 2009 http://www.edfilmfest.org.uk/whats-on/2009/on-the-way-to-school
- 16th Altın Koza International Film Festival in Adana | 8-14 June 2009 http://www.altinkozafestivali.org.tr
- Planete Doc Review | 8-17 May 2009 http://www.docreview.pl/2009/
- 28th International İstanbul Film Festival | 4-19 April 2009 www.iksv.org/film/english
- Movies that Matter Festival | 2-8 April 2009 www.amnestyfilmfestival.nl
- Nicosia International Documentary Film Festival | 24 - 29 March 2009 http://www.cyprusdocfest.org
- 11th Thessaloniki Documentary Festival | 13 - 22 March 2009 www.filmfestival.gr
- ZagrebDox - International Documentary Film Festival | 23 February - 1 March 2009 www.zagrebdox.net
- 21st IDFA (International Documentary Film Festival Amsterdam) | 20-30 November 2008 www.idfa.nl
Gn. Zeki Doğan Mah. 12. Sok. No: 26/1
Mamak-ANKARA / TURKEY
Fax: + 90 312 210 35 90
e-mail: perisanfilm@gmail.com
URL: http://www.perisanfilm.com
'On the Way to School' Where did these boys come from?
İKİ DİL BİR BAVUL| 'On the Way to School'
The young Turkish teacher Emre works at a school in an isolated Kurdish village in the South-East of Turkey. Emre's initial enthusiasm quickly turns into frustration and loneliness. The teacher only speaks Turkish whereas the students only understand Kurdish.
Credits
Director: Orhan Eskikoy, Özgür Dogan Photography: Orhan Eskikoy Screenplay: Orhan EskikoyEditing: Orhan Eskikoy, Thomas BalkenholSound: Özgür Dogan Production: Özgür Dogan for Peri-san FilmCo-production Pieter van Huystee Film World SalesPeri-san FilmSales Contact : Pieter van Huystee for Pieter van Huystee Film, Özgür Dogan for Peri-san Film
You can watch the film’s trailer and get more information at: www.perisanfilm.com/school.
'On the Way to School' Where did these boys come from?
28 November 2008, Friday | EMİNE YILDIRIM AMSTERDAM
Perhaps the International Documentary Film Festival Amsterdam (IDFA) will not ring a bell for your average film buff, but those in the global film industry know that it is by far the mother of all creative documentary film festivals.
Furthermore, this year’s festival should have a special meaning for Turkey since, for the first time in the event’s history, a Turkish film is competing in the Joris Ivens competition for feature length documentaries.
For the Ankara-based, fresh-faced directing duo Özgür Doğan and Orhan Eskiköy, their “İki Dil Bir Bavul” (“On the Way to School”) has been a relentless journey of hard work and patience spanning over three years. Watching their film’s premiere Wednesday at Amsterdam’s historic art-deco Tuchinski theatre, I’m more than happy to say that their efforts have not been in vain. The film is a simple and profound piece of work that depicts the one-year journey of the 20-something primary school teacher Emre Aydın from the western city of Denizli who has been appointed to teach in southeastern Urfa’s remote Kurdish village of Demirci. Here’s the catch: Aydın, who cannot speak Kurdish, will have to teach Turkish to a classroom of kids who do not speak a word of the state’s official language. After all, the language spoken in their homes is Kurdish, although most of the adults can speak Turkish. Aydın, being the well-intentioned epitome of the image the republic has set for teachers since its foundation, patiently struggles to bring “civilization” to the provinces by means of primarily teaching the official Turkish language. God knows Aydın tries, and the kids try (they truly love and respect their teacher) but, much like the country’s current policy in dealing with the Kurdish populace, the school year ends without much success. But how could it not? Beyond the fact that the kids speak Kurdish amongst themselves, their lives are limited in the fields of a desolate village prone to constant power cuts where water is a luxury. Except for the presence of the teacher, the state has forgotten them.
I can already hear those grumbles coming from various factions in Turkey regarding the subject matter. Let it be known from this writer that the film is by all means an observational and astute piece of work that aims to raise the right questions in forming a peaceful human dialogue based on tolerance. Nobody can deny that issues of integration, education and cultural and ethnic identity are a reality in Turkey. What “On the Way to School” does is to bring forth, without any kind of intervention, that which is currently being lived and experienced in the daily life of eastern Turkey. The filmmakers’ camera points in the right direction -- in the classroom, not the trenches.
Doğan and Eskiköy have been working together since 2001 and have a handful of award-winning short documentaries under their belt.
The results of the IDFA’s Joris Ivens competition will be announced this Saturday. In Amsterdam everyone is already buzzing about “On the Way to School,” which has already secured its place in the competition’s top 10 favorites. Still, even if Doğan and Eskiköy don’t come home with a prize from Amsterdam, they’ve already come a very long way by being showcased at the IDFA.
Speaking to Today’s Zaman following the film’s premiere in Amsterdam, there is a noticeable glitter in their eyes as they mention their own production journey and the general state of documentary filmmaking in Turkey. Eskiköy answers most of the questions, but it’s obvious that these boys are a rock solid team of two.
How did you decide to make this film?
We had a close friend who was in a similar situation. He was officially appointed as a teacher to another village in the region where the kids didn’t speak Turkish. We found his story very interesting and wanted to capture it on screen. Unfortunately, our friend preferred not to be filmed, but still the story stuck in our minds. We knew that every year new teachers were appointed to villages in the region. We located the Demirci village and waited. Luckily, Emre Aydın who had been appointed there, let us capture him on film throughout the year.
The camera is noticeably invisible throughout the film. How did you manage to get the trust of all the people on screen -- especially the children, who never seem to notice that you were filming?
Of course, before filming we introduced ourselves to everyone in the community and clearly explained what we wanted to do. After a while they got used to seeing us stick around and forgot our presence. As for the children, all of them were focused on the teacher, not the camera, since Emre, after all, was the highest authority in the classroom.
As the film shows, Emre has a frustrating experience throughout his tenure, not only due to the language problem but also as a result of the region’s destitute situation. What kind of an experience was it for you as filmmakers?
Since Özgür knows the region a lot better than I do, he wasn’t surprised. As for me, it was different and slightly shocking, since the Kurdish life that I had envisaged was not what I later saw.
The production story of the film is very interesting. You have a Dutch production partner and you’ve received funds from abroad. Could you elaborate?
We first looked for financing in Turkey. Unfortunately, we were rejected by the fund of the Culture and Tourism Ministry. But we knew we wanted to do this film and do it right. Later we were accepted to the Greenhouse feature-length documentary workshop, supported by the European Union and specifically designed for filmmakers in the Mediterranean region. This was a great opportunity. Not only did we get the chance to develop the project artistically, but we were introduced to producers, commissioning editors and representatives of documentary institutes. A lot of people started talking about and believing in the project, which was great! During this period, we applied to the IDFA’s own Jan Vrijmun Fund and the Sundance Documentary Fund, both of which we received the support of. Also, our Dutch producer, Pieter Van Huystee, came on board.
Was it easy to bring all these partners together?
Naturally it has been a great experience to work on the international level. However, the more people that are involved, the more voices there are that have a say in your project. You have to make everyone happy without forsaking your own perspective. I really wish that we could have been able to find financing in Turkey. After all, this is a film made in Turkey and we want to continue making films in our country, not somewhere else.
Speaking of Turkey, what do you think of the current state of documentary films in the country?
It’s definitely going in a positive direction. There are a lot of great projects being made, especially by the Filmist collective, which includes Berke Baş, Haşmet Topaloğlu, Somnur Vardar and Belmin Söylemez and also the Docist organization, by Necati Sönmez and Emel Çelebi, is admirable. But the real issue is that non-fiction films are still always pushed aside when fiction is mentioned. Documentary directors should be willing to stand up for their rights and not undervalue themselves; they should push for distribution and ask for copyright compensation.
Will you exhibit and maybe distribute the film in Turkey?
Hopefully, it will be shown in the İstanbul International Film Festival in 2009. But, other than that, I highly doubt that any TV channel in Turkey would show it. Our real hope is to distribute the film in cinemas abroad and locally, but transferring from digital to 35 mm prints is not a small task.
Will you be working together again? What’s your next project?
Yes we will. Right now we’re focusing on the exhibition aspect of “On the Way to School,” but we are hoping to make a feature-length fiction film in the near future.
The young Turkish teacher Emre works at a school in an isolated Kurdish village in the South-East of Turkey. Emre's initial enthusiasm quickly turns into frustration and loneliness. The teacher only speaks Turkish whereas the students only understand Kurdish.
Credits
Director: Orhan Eskikoy, Özgür Dogan Photography: Orhan Eskikoy Screenplay: Orhan EskikoyEditing: Orhan Eskikoy, Thomas BalkenholSound: Özgür Dogan Production: Özgür Dogan for Peri-san FilmCo-production Pieter van Huystee Film World SalesPeri-san FilmSales Contact : Pieter van Huystee for Pieter van Huystee Film, Özgür Dogan for Peri-san Film
You can watch the film’s trailer and get more information at: www.perisanfilm.com/school.
'On the Way to School' Where did these boys come from?
28 November 2008, Friday | EMİNE YILDIRIM AMSTERDAM
Perhaps the International Documentary Film Festival Amsterdam (IDFA) will not ring a bell for your average film buff, but those in the global film industry know that it is by far the mother of all creative documentary film festivals.
Furthermore, this year’s festival should have a special meaning for Turkey since, for the first time in the event’s history, a Turkish film is competing in the Joris Ivens competition for feature length documentaries.
For the Ankara-based, fresh-faced directing duo Özgür Doğan and Orhan Eskiköy, their “İki Dil Bir Bavul” (“On the Way to School”) has been a relentless journey of hard work and patience spanning over three years. Watching their film’s premiere Wednesday at Amsterdam’s historic art-deco Tuchinski theatre, I’m more than happy to say that their efforts have not been in vain. The film is a simple and profound piece of work that depicts the one-year journey of the 20-something primary school teacher Emre Aydın from the western city of Denizli who has been appointed to teach in southeastern Urfa’s remote Kurdish village of Demirci. Here’s the catch: Aydın, who cannot speak Kurdish, will have to teach Turkish to a classroom of kids who do not speak a word of the state’s official language. After all, the language spoken in their homes is Kurdish, although most of the adults can speak Turkish. Aydın, being the well-intentioned epitome of the image the republic has set for teachers since its foundation, patiently struggles to bring “civilization” to the provinces by means of primarily teaching the official Turkish language. God knows Aydın tries, and the kids try (they truly love and respect their teacher) but, much like the country’s current policy in dealing with the Kurdish populace, the school year ends without much success. But how could it not? Beyond the fact that the kids speak Kurdish amongst themselves, their lives are limited in the fields of a desolate village prone to constant power cuts where water is a luxury. Except for the presence of the teacher, the state has forgotten them.
I can already hear those grumbles coming from various factions in Turkey regarding the subject matter. Let it be known from this writer that the film is by all means an observational and astute piece of work that aims to raise the right questions in forming a peaceful human dialogue based on tolerance. Nobody can deny that issues of integration, education and cultural and ethnic identity are a reality in Turkey. What “On the Way to School” does is to bring forth, without any kind of intervention, that which is currently being lived and experienced in the daily life of eastern Turkey. The filmmakers’ camera points in the right direction -- in the classroom, not the trenches.
Doğan and Eskiköy have been working together since 2001 and have a handful of award-winning short documentaries under their belt.
The results of the IDFA’s Joris Ivens competition will be announced this Saturday. In Amsterdam everyone is already buzzing about “On the Way to School,” which has already secured its place in the competition’s top 10 favorites. Still, even if Doğan and Eskiköy don’t come home with a prize from Amsterdam, they’ve already come a very long way by being showcased at the IDFA.
Speaking to Today’s Zaman following the film’s premiere in Amsterdam, there is a noticeable glitter in their eyes as they mention their own production journey and the general state of documentary filmmaking in Turkey. Eskiköy answers most of the questions, but it’s obvious that these boys are a rock solid team of two.
How did you decide to make this film?
We had a close friend who was in a similar situation. He was officially appointed as a teacher to another village in the region where the kids didn’t speak Turkish. We found his story very interesting and wanted to capture it on screen. Unfortunately, our friend preferred not to be filmed, but still the story stuck in our minds. We knew that every year new teachers were appointed to villages in the region. We located the Demirci village and waited. Luckily, Emre Aydın who had been appointed there, let us capture him on film throughout the year.
The camera is noticeably invisible throughout the film. How did you manage to get the trust of all the people on screen -- especially the children, who never seem to notice that you were filming?
Of course, before filming we introduced ourselves to everyone in the community and clearly explained what we wanted to do. After a while they got used to seeing us stick around and forgot our presence. As for the children, all of them were focused on the teacher, not the camera, since Emre, after all, was the highest authority in the classroom.
As the film shows, Emre has a frustrating experience throughout his tenure, not only due to the language problem but also as a result of the region’s destitute situation. What kind of an experience was it for you as filmmakers?
Since Özgür knows the region a lot better than I do, he wasn’t surprised. As for me, it was different and slightly shocking, since the Kurdish life that I had envisaged was not what I later saw.
The production story of the film is very interesting. You have a Dutch production partner and you’ve received funds from abroad. Could you elaborate?
We first looked for financing in Turkey. Unfortunately, we were rejected by the fund of the Culture and Tourism Ministry. But we knew we wanted to do this film and do it right. Later we were accepted to the Greenhouse feature-length documentary workshop, supported by the European Union and specifically designed for filmmakers in the Mediterranean region. This was a great opportunity. Not only did we get the chance to develop the project artistically, but we were introduced to producers, commissioning editors and representatives of documentary institutes. A lot of people started talking about and believing in the project, which was great! During this period, we applied to the IDFA’s own Jan Vrijmun Fund and the Sundance Documentary Fund, both of which we received the support of. Also, our Dutch producer, Pieter Van Huystee, came on board.
Was it easy to bring all these partners together?
Naturally it has been a great experience to work on the international level. However, the more people that are involved, the more voices there are that have a say in your project. You have to make everyone happy without forsaking your own perspective. I really wish that we could have been able to find financing in Turkey. After all, this is a film made in Turkey and we want to continue making films in our country, not somewhere else.
Speaking of Turkey, what do you think of the current state of documentary films in the country?
It’s definitely going in a positive direction. There are a lot of great projects being made, especially by the Filmist collective, which includes Berke Baş, Haşmet Topaloğlu, Somnur Vardar and Belmin Söylemez and also the Docist organization, by Necati Sönmez and Emel Çelebi, is admirable. But the real issue is that non-fiction films are still always pushed aside when fiction is mentioned. Documentary directors should be willing to stand up for their rights and not undervalue themselves; they should push for distribution and ask for copyright compensation.
Will you exhibit and maybe distribute the film in Turkey?
Hopefully, it will be shown in the İstanbul International Film Festival in 2009. But, other than that, I highly doubt that any TV channel in Turkey would show it. Our real hope is to distribute the film in cinemas abroad and locally, but transferring from digital to 35 mm prints is not a small task.
Will you be working together again? What’s your next project?
Yes we will. Right now we’re focusing on the exhibition aspect of “On the Way to School,” but we are hoping to make a feature-length fiction film in the near future.
Edinburgh Film Festival 2009 | Milk and Doc
Milk (Sut)
DIRECTORS’ SHOWCASE
UK PREMIERE
Semih Kaplanoglu | Turkey, France, Germany
2008 | 102 min
Cast: Melih Selçuk, Basak Köklükaya, Riza Akin, Saadet Isil
Aksoy, Tülin Özen, Alev Uçarer
An aspiring writer balances the demands of family, art and
growing up.
Turkey continues to produce some of the most elegant and
profound cinema on the international scene. This supremely
delicate and engaging coming of age drama follows sensitive
country boy Yusuf as he struggles to scrape a living in a
changing rural economy, whilst also managing the turbulent
emotions of adolescence and seeking recognition for his
poetry. When his single mother finds a romantic interest of her
own, the future looks even more uncertain...
On the Way to School
DOCUMENT
UK PREMIERE
Orhan Eskiköy, Özgür Dogan | Turkey | 2009 | 81 min
All the charm of Être et Avoir: school life seen through the eyes
of a young Turkish teacher just finding his feet.
Recently graduated primary teacher Emre has been sent to run
a remote school in Turkish Kurdistan. He arrives to discover a
village with no running water, a somewhat relaxed approach
to school attendance, and pupils who only speak Kurdish,
a language fervently prohibited by the Turkish government.
Filmed over one year, this is a beautiful, affectionate and gently
humorous observation of Emre (never far from a phone call
home to his mum) and his class as they struggle to come to
terms with one another’s customs.
DIRECTORS’ SHOWCASE
UK PREMIERE
Semih Kaplanoglu | Turkey, France, Germany
2008 | 102 min
Cast: Melih Selçuk, Basak Köklükaya, Riza Akin, Saadet Isil
Aksoy, Tülin Özen, Alev Uçarer
An aspiring writer balances the demands of family, art and
growing up.
Turkey continues to produce some of the most elegant and
profound cinema on the international scene. This supremely
delicate and engaging coming of age drama follows sensitive
country boy Yusuf as he struggles to scrape a living in a
changing rural economy, whilst also managing the turbulent
emotions of adolescence and seeking recognition for his
poetry. When his single mother finds a romantic interest of her
own, the future looks even more uncertain...
On the Way to School
DOCUMENT
UK PREMIERE
Orhan Eskiköy, Özgür Dogan | Turkey | 2009 | 81 min
All the charm of Être et Avoir: school life seen through the eyes
of a young Turkish teacher just finding his feet.
Recently graduated primary teacher Emre has been sent to run
a remote school in Turkish Kurdistan. He arrives to discover a
village with no running water, a somewhat relaxed approach
to school attendance, and pupils who only speak Kurdish,
a language fervently prohibited by the Turkish government.
Filmed over one year, this is a beautiful, affectionate and gently
humorous observation of Emre (never far from a phone call
home to his mum) and his class as they struggle to come to
terms with one another’s customs.
Monday, May 18, 2009
Variety Review | Eastern Plays
Cannes | Eastern Plays (Bulgaria-Sweden) By JAY WEISSBERG
A Waterfront Films (Bulgaria) presentation of a Waterfront Films (Bulgaria)/Chimney Pot, Film i Vast (Sweden) production. (International sales: Memento Films, Paris.) Produced by Kamen Kalev, Stefan Piryov, Fredrik Zander. Executive producer, Maya Vitkova. Co-producers, Anguel Christanov, Thomas Eskilksson. Directed, written by Kamen Kalev.
With: Christo Christov, Ovanes Torosian, Saadet Isil Aksoy, Nikolina Yancheva, Ivan Nalbantov, Krasimira Demireva, Hatice Aslan, Kerem Atabeyoglu, Chavdar Sokolov, Alexander "The Indian" Radanov, Anjela Nedialkova, Ivan Vitkov.
(Bulgarian, Turkish, English dialogue)
The quiet despair of directionless souls could be a dreary subject in the hands of a lesser novice, but Kamen Kalev's "Eastern Plays" is an honest, skillful rumination on the search for inner and outer connections. While the storylines of two existentially adrift brothers aren't always well integrated, Kalev brings a fine ear for dialogue and an unsentimental warmth to this personal tale, making for an impressive debut that ends on a surprisingly hopeful note. A long and fruitful fest life is assured, with even a chance for modest Euro arthouse play.
The bleak apartment blocs on the outskirts of Sofia, Bulgaria, are home to Georgi (Ovanes Torosian), a troubled teen dabbling in skinhead culture. Half-heartedly drawn to a violent racist clique by Fish (Chavdar Sokolov), Georgi is borderline disaffected, joining in when Drega (Alexander "The Indian" Radanov) leads a foreigner-bashing posse in an attack on a visiting Turkish family.
Stepping in to help the victims is Georgi's largely estranged older brother Christo, known as Itso (Christo Christov). While Georgi opens the pic, this is Itso's film in many ways. A former art student and sculptor, Itso just about gets through his days as a carpenter, supplementing a methadone dependency with multiple beers.
Itso pushes everyone away, especially g.f. Niki (Nikolina Yancheva), until he intervenes to help the Turkish family and connects with their daughter Isil (Saadet Isil Aksoy). Forming an unlikely yet thoroughly believable duo, these two are brought together by their mutual need for the kind of supportive humanity not found in their daily lives; they're the only people who listen to each other when they speak. Beyond overcoming the objections of her mistrustful parents (well played by Hatice Aslan and Kerem Atabeyoglu), Itso needs to surface from his funk before he can reach for a future.
While both brothers are floundering in existential solitude, Itso projects a far deeper sense of being both lost and trapped. Perhaps it's because tyro thesp Christov, an old friend of Kalev's, was the basis for the script, and many details are taken directly from his life. Kalev's sensitivity, combined with dialogue as truthful as it is natural, leaves no room for vampiric verisimilitude; while it comes as a shock to discover, in the end credits, that Christov tragically died last year, the entire film is suffused with poignant respect.
Less successful is a political subplot involving Drega accepting cash from a candidate to foment racist attacks; though undoubtedly based on fact, this belongs in a separate film. Kalev also seems to be searching too hard for ways to integrate the different strands.
All perfs are strong, but it's Christov and Aksoy who linger in the memory. At first Itso seems an unappealing character, but his haunted quality and sense of decency, coupled with wrenching despair, quickly confound that superficial impression. Aksoy, so fine in Semih Kaplanoglu's films "Egg" and "Milk," is a striking presence, her external beauty enhanced by a palpable empathy.
Largely handheld lensing captures the characters' unsettled cores, and the blowup from HD is flawless. Several scenes stand out for their emotional and technical honesty, including Itso's conversation with a shrink (Ivan Vitkov), in which Christov, seen in shadow against a window, explains that he has the strength to get up, but nothing to hold onto.
Camera (color, HD-to-35mm), Julian Atanassov; editors, Kalev, Stefan Piryiov, Johannes Pinter; music, Jean-Paul Wall; production designer, Martin Slavov; sound (Dolby Digital), Momchil Bozhkov, Boris Trayanov; associate producer, Dobriana Petkova; assistant director, Ina Hadjieva; casting, Vania Bajdarova, Harika Uygur. Reviewed at Cannes Film Festival (Directors' Fortnight), May 17, 2009. Running time: 88 MIN.
A Waterfront Films (Bulgaria) presentation of a Waterfront Films (Bulgaria)/Chimney Pot, Film i Vast (Sweden) production. (International sales: Memento Films, Paris.) Produced by Kamen Kalev, Stefan Piryov, Fredrik Zander. Executive producer, Maya Vitkova. Co-producers, Anguel Christanov, Thomas Eskilksson. Directed, written by Kamen Kalev.
With: Christo Christov, Ovanes Torosian, Saadet Isil Aksoy, Nikolina Yancheva, Ivan Nalbantov, Krasimira Demireva, Hatice Aslan, Kerem Atabeyoglu, Chavdar Sokolov, Alexander "The Indian" Radanov, Anjela Nedialkova, Ivan Vitkov.
(Bulgarian, Turkish, English dialogue)
The quiet despair of directionless souls could be a dreary subject in the hands of a lesser novice, but Kamen Kalev's "Eastern Plays" is an honest, skillful rumination on the search for inner and outer connections. While the storylines of two existentially adrift brothers aren't always well integrated, Kalev brings a fine ear for dialogue and an unsentimental warmth to this personal tale, making for an impressive debut that ends on a surprisingly hopeful note. A long and fruitful fest life is assured, with even a chance for modest Euro arthouse play.
The bleak apartment blocs on the outskirts of Sofia, Bulgaria, are home to Georgi (Ovanes Torosian), a troubled teen dabbling in skinhead culture. Half-heartedly drawn to a violent racist clique by Fish (Chavdar Sokolov), Georgi is borderline disaffected, joining in when Drega (Alexander "The Indian" Radanov) leads a foreigner-bashing posse in an attack on a visiting Turkish family.
Stepping in to help the victims is Georgi's largely estranged older brother Christo, known as Itso (Christo Christov). While Georgi opens the pic, this is Itso's film in many ways. A former art student and sculptor, Itso just about gets through his days as a carpenter, supplementing a methadone dependency with multiple beers.
Itso pushes everyone away, especially g.f. Niki (Nikolina Yancheva), until he intervenes to help the Turkish family and connects with their daughter Isil (Saadet Isil Aksoy). Forming an unlikely yet thoroughly believable duo, these two are brought together by their mutual need for the kind of supportive humanity not found in their daily lives; they're the only people who listen to each other when they speak. Beyond overcoming the objections of her mistrustful parents (well played by Hatice Aslan and Kerem Atabeyoglu), Itso needs to surface from his funk before he can reach for a future.
While both brothers are floundering in existential solitude, Itso projects a far deeper sense of being both lost and trapped. Perhaps it's because tyro thesp Christov, an old friend of Kalev's, was the basis for the script, and many details are taken directly from his life. Kalev's sensitivity, combined with dialogue as truthful as it is natural, leaves no room for vampiric verisimilitude; while it comes as a shock to discover, in the end credits, that Christov tragically died last year, the entire film is suffused with poignant respect.
Less successful is a political subplot involving Drega accepting cash from a candidate to foment racist attacks; though undoubtedly based on fact, this belongs in a separate film. Kalev also seems to be searching too hard for ways to integrate the different strands.
All perfs are strong, but it's Christov and Aksoy who linger in the memory. At first Itso seems an unappealing character, but his haunted quality and sense of decency, coupled with wrenching despair, quickly confound that superficial impression. Aksoy, so fine in Semih Kaplanoglu's films "Egg" and "Milk," is a striking presence, her external beauty enhanced by a palpable empathy.
Largely handheld lensing captures the characters' unsettled cores, and the blowup from HD is flawless. Several scenes stand out for their emotional and technical honesty, including Itso's conversation with a shrink (Ivan Vitkov), in which Christov, seen in shadow against a window, explains that he has the strength to get up, but nothing to hold onto.
Camera (color, HD-to-35mm), Julian Atanassov; editors, Kalev, Stefan Piryiov, Johannes Pinter; music, Jean-Paul Wall; production designer, Martin Slavov; sound (Dolby Digital), Momchil Bozhkov, Boris Trayanov; associate producer, Dobriana Petkova; assistant director, Ina Hadjieva; casting, Vania Bajdarova, Harika Uygur. Reviewed at Cannes Film Festival (Directors' Fortnight), May 17, 2009. Running time: 88 MIN.
Cannes 2009 | Eastern Plays by kamen Kalev
Eastern Plays | Bulgaria, Sweden - 1h23 (2009) Directed, written by Kamen Kalev.
Film Info in PDF
Produced by Kamen Kalev, Stefan Piryov, Fredrik Zander. Executive producer, Maya Vitkova. Co-producers, Anguel Christanov, Thomas Eskilksson. (Bulgarian, Turkish, English dialogue)
Cast: Christo Christov, Ovanes Torosian, Saadet Isil Aksoy, Nikolina Yancheva, Ivan Nalbantov, Krasimira Demireva, Hatice Aslan, Kerem Atabeyoglu, Chavdar Sokolov, Alexander "The Indian" Radanov, Anjela Nedialkova, Ivan Vitkov.
Synopsis: Two brothers who've lost all contact are suddenly brought together when they have opposite roles in a racist beating : while Georgi who's recently joined a neonazi group participates in the violence, Itzo witnesses and rescues the Turkish family. Georgi, now being asked to participate in larger events, starts to question his implication in the movement and Itzo wonders if the beautiful Turkish girl he saved could be his ticket out from his sad life in Sofia. Only by reuniting will the two brothers be able to assess what they really want from life. (more...)
Production : Waterfront Film | Bacho Kiro 39 1202 Sofia Bulgaria
Tél : +359 2 985 2300 | info@waterfrontfilm.net | www.waterfrontfilm.net
Co-Production : Chimney Pot (Suède) | Film i Väst AB (Suède)
foreign sales : Memento Films International
6 cité paradis 75010 Paris France
Tél : +33 (0)1 53 34 90 20 | Fax : +33 (0)1 42 47 11 24
sales@memento-films.com | festival@memento-films.com | www.memento-films.com
KAMEN KALEV
Kamen Kalev was born in Burgas, Bulgaria in 1975. He graduated from the Femis Film School, Paris. Kamen's short films Orpheus, Maltonius Olbren, Get The Rabbit Back, Rabbit Troubles were presented and received awards at many International films festival such as Cannes, Berlin, Clermont-Ferrant, NY Film Festival, Locarno, Stockholm, Sarajevo... He also directed over 60 commercials and a number of muisic videos.
KAMEN KALEV Filmography
2009 : Eastern Plays
2007 : Rabbit Troubles (cm / short)
2005 : Get The Rabbit Back (cm / short)
2002 : Orpheus (cm / short)
2001 : Maltonius Olbren (cm / short)
Bulgarian movie “Eastern Plays” selected for Directors’ Fortnight in Cannes
On May 17, 2009 Bulgarian movie “Eastern Plays”, directed by Kamen Kalev premiered in Cannes. It will compete for the Camera D'or Award given to debut films. According to Olivier Pere, Directors’ Fortnight director, “Eastern Plays” is “original, moving and profound, and the actors are just amazing”. The film is a real find, he says. It is a low-budget one with many of the crew working for free. Private investor Angel Hristanov supported the shots financially. During a film festival in Sarajevo Kamen met Peter Gustavson, Director of a Swiss Film Fund, who also lent a helping hand. Three well-known Turkish actors play for free as well.
Film Info in PDF
Produced by Kamen Kalev, Stefan Piryov, Fredrik Zander. Executive producer, Maya Vitkova. Co-producers, Anguel Christanov, Thomas Eskilksson. (Bulgarian, Turkish, English dialogue)
Cast: Christo Christov, Ovanes Torosian, Saadet Isil Aksoy, Nikolina Yancheva, Ivan Nalbantov, Krasimira Demireva, Hatice Aslan, Kerem Atabeyoglu, Chavdar Sokolov, Alexander "The Indian" Radanov, Anjela Nedialkova, Ivan Vitkov.
Synopsis: Two brothers who've lost all contact are suddenly brought together when they have opposite roles in a racist beating : while Georgi who's recently joined a neonazi group participates in the violence, Itzo witnesses and rescues the Turkish family. Georgi, now being asked to participate in larger events, starts to question his implication in the movement and Itzo wonders if the beautiful Turkish girl he saved could be his ticket out from his sad life in Sofia. Only by reuniting will the two brothers be able to assess what they really want from life. (more...)
Production : Waterfront Film | Bacho Kiro 39 1202 Sofia Bulgaria
Tél : +359 2 985 2300 | info@waterfrontfilm.net | www.waterfrontfilm.net
Co-Production : Chimney Pot (Suède) | Film i Väst AB (Suède)
foreign sales : Memento Films International
6 cité paradis 75010 Paris France
Tél : +33 (0)1 53 34 90 20 | Fax : +33 (0)1 42 47 11 24
sales@memento-films.com | festival@memento-films.com | www.memento-films.com
KAMEN KALEVKamen Kalev was born in Burgas, Bulgaria in 1975. He graduated from the Femis Film School, Paris. Kamen's short films Orpheus, Maltonius Olbren, Get The Rabbit Back, Rabbit Troubles were presented and received awards at many International films festival such as Cannes, Berlin, Clermont-Ferrant, NY Film Festival, Locarno, Stockholm, Sarajevo... He also directed over 60 commercials and a number of muisic videos.
KAMEN KALEV Filmography
2009 : Eastern Plays
2007 : Rabbit Troubles (cm / short)
2005 : Get The Rabbit Back (cm / short)
2002 : Orpheus (cm / short)
2001 : Maltonius Olbren (cm / short)
Bulgarian movie “Eastern Plays” selected for Directors’ Fortnight in Cannes
On May 17, 2009 Bulgarian movie “Eastern Plays”, directed by Kamen Kalev premiered in Cannes. It will compete for the Camera D'or Award given to debut films. According to Olivier Pere, Directors’ Fortnight director, “Eastern Plays” is “original, moving and profound, and the actors are just amazing”. The film is a real find, he says. It is a low-budget one with many of the crew working for free. Private investor Angel Hristanov supported the shots financially. During a film festival in Sarajevo Kamen met Peter Gustavson, Director of a Swiss Film Fund, who also lent a helping hand. Three well-known Turkish actors play for free as well.
Thursday, May 07, 2009
A Honey of a Deal for Kaplanoglu
Germany’s leading regional film fund, Filmstiftung NRW, has allocated $14.7m – a third of its annual budget - to 35 projects, including Turkish director Semih Kaplanoglu’s BAL - HONEY, the third and final part of his Yusuf trilogy, between Kaplan Film and Heimatfilm.
German film production will step up a gear this week after the Berlin-based German Federal Film Board finally agreed its budget for 2009. It is understood to be close to last year’s $93.4m. The decision, following a special meeting of its administrative council, means the FFA can resume funding, including paying producers “reference funding” for successful 2008 projects.
German film production will step up a gear this week after the Berlin-based German Federal Film Board finally agreed its budget for 2009. It is understood to be close to last year’s $93.4m. The decision, following a special meeting of its administrative council, means the FFA can resume funding, including paying producers “reference funding” for successful 2008 projects.
Friday, May 01, 2009
2009 | The Flying Broom International Women's Film Festival in Ankara
ANKARA - The Flying Broom International Women's Film Festival in Ankara will feature movies from the 1980s to turn the spotlight on the pressures women faced during that decade. Ninety films by 81 female directors will be on silver screen at the festival. The political, social and cultural transformations of the 1980s, a significant decade both in Turkey and in the world, will be relived on the silver screen as part of an annual women’s film festival in Ankara. The festival will open May 7 at 8:30 p.m. at the State Opera and Ballet building in Ankara with an opening ceremony that will be aired by state-run TRT 2. The festival will conclude May 14.
Film fest looks back at the 80’s
"The 1980s were years in which films were subject to censorship and women were confined to traditional roles in Turkey," Halime Güner, the coordinator of the 12th Flying Broom International Women’s Film Festival, said at a press conference Wednesday. "We want to bring the ’80s back and put them in the spotlight from the perspective of women to highlight the pressures women faced at the time and remind people of the historical facts of the period, which tend to be forgotten."
The Flying Broom film festival is Turkey’s first to focus on women. This year’s edition will feature screenings of 90 films by 81 female directors from 26 countries, along with side events related to the theme, "1980s."
Speaking at the press conference, film critic Alin Taşçıyan said women’s cinema symbolizes the opposition to the pressures and traditional roles women are confronted with and to any kind of discrimination, including gender discrimination. She said it was after the 1980s that women began to raise their voices in Turkish cinema and shoot their own films that dealt with women’s problems.
"This year’s festival has the best program in the last two years of all the film festivals in Turkey and in the world, including the Cannes Film Festival," Taşçıyan said. "I invite everyone to watch these carefully selected films."
The films screened will include those by prominent female directors such as the German filmmaker Ulrike Ottinger, the Spanish actress and director Antonia San Juan and Magda, known as the diva of Egyptian cinema. The event will also showcase Turkish and international documentaries by female directors, as well as films from the 1980s, including "Mine" (1982), by the renowned late director Atıf Yılmaz, and "Tüm Kapılar Kapalıydı" (1989) by Memduh Ün. Ün’s film, titled "All the Doors Were Closed" in English, focuses on the difficulties its female hero faced under the military regime of the 1980s.
In addition to film and documentary screenings in different categories, the festival will also feature panel discussions, exhibitions, concerts and other side events. An exhibition titled "On September 12É" referring to the day the Turkish military staged a coup in 1980, will run between May 8 and 18 at the İbrahim Çeçen Foundation IC Art Gallery on Kızılırmak Street in Kocatepe. The exhibition will feature letters sent by women from Turkey’s different provinces, reflecting on their thoughts and feelings about the coup period and its effect on women. Letters written by the visitors to the exhibition will also be added to the collection.
The International Federation of Film Critics Award will also be presented at the festival, the only event in Turkey where this award is given.
Festival films will be screened at the Kızılırmak movie theater and the German Culture Center as well as at university campuses in Ankara. Documentaries will be shown at Ankara University’s Communication Faculty, and at the Bilkent University and Middle East Technical University campuses. Short films and documentaries will be free of charge. Other tickets will be 6 Turkish Liras. For more info: www.ucansupurge.org.
Film fest looks back at the 80’s
"The 1980s were years in which films were subject to censorship and women were confined to traditional roles in Turkey," Halime Güner, the coordinator of the 12th Flying Broom International Women’s Film Festival, said at a press conference Wednesday. "We want to bring the ’80s back and put them in the spotlight from the perspective of women to highlight the pressures women faced at the time and remind people of the historical facts of the period, which tend to be forgotten."
The Flying Broom film festival is Turkey’s first to focus on women. This year’s edition will feature screenings of 90 films by 81 female directors from 26 countries, along with side events related to the theme, "1980s."
Speaking at the press conference, film critic Alin Taşçıyan said women’s cinema symbolizes the opposition to the pressures and traditional roles women are confronted with and to any kind of discrimination, including gender discrimination. She said it was after the 1980s that women began to raise their voices in Turkish cinema and shoot their own films that dealt with women’s problems.
"This year’s festival has the best program in the last two years of all the film festivals in Turkey and in the world, including the Cannes Film Festival," Taşçıyan said. "I invite everyone to watch these carefully selected films."
The films screened will include those by prominent female directors such as the German filmmaker Ulrike Ottinger, the Spanish actress and director Antonia San Juan and Magda, known as the diva of Egyptian cinema. The event will also showcase Turkish and international documentaries by female directors, as well as films from the 1980s, including "Mine" (1982), by the renowned late director Atıf Yılmaz, and "Tüm Kapılar Kapalıydı" (1989) by Memduh Ün. Ün’s film, titled "All the Doors Were Closed" in English, focuses on the difficulties its female hero faced under the military regime of the 1980s.
In addition to film and documentary screenings in different categories, the festival will also feature panel discussions, exhibitions, concerts and other side events. An exhibition titled "On September 12É" referring to the day the Turkish military staged a coup in 1980, will run between May 8 and 18 at the İbrahim Çeçen Foundation IC Art Gallery on Kızılırmak Street in Kocatepe. The exhibition will feature letters sent by women from Turkey’s different provinces, reflecting on their thoughts and feelings about the coup period and its effect on women. Letters written by the visitors to the exhibition will also be added to the collection.
The International Federation of Film Critics Award will also be presented at the festival, the only event in Turkey where this award is given.
Festival films will be screened at the Kızılırmak movie theater and the German Culture Center as well as at university campuses in Ankara. Documentaries will be shown at Ankara University’s Communication Faculty, and at the Bilkent University and Middle East Technical University campuses. Short films and documentaries will be free of charge. Other tickets will be 6 Turkish Liras. For more info: www.ucansupurge.org.
Tuesday, April 28, 2009
Two Awards to Three Monkeys at River Run International Film Festival
Three Monkeys has received the top prize in an international film festival in the United States. Turkish director Nuri Bilge Ceylan's Three Monkeys (Uc Maymun) was named "the Best Film" by the jury in the River Run International Film Festival. Actress Hatice Aslan received the Best Actress Award with her part in Three Monkeys. The festival jury included Eric Besner from Lucas Films, director Jennifer Chambers Lynch, film critic Andrew O'Heir Michael Kutza, artistic director and the founder of Chicago International Film Festival. Ceylan was named the best director with Three Monkeys in 2008 in the Cannes Film Festival.
Wednesday, April 22, 2009
Tuesday, April 21, 2009
2009 Box Office Ranking ...so far
Rank / Movie Title / Distributor / Gross / Release Date
Turkish films in Bold
1 Recep Ivedik 2 Ozen Film $20,769,050 2/13
2 Günesi gördüm Pinema $11,367,756 3/12
3 Güz sancisi Ozen Film $2,889,639 1/23
4 The Curious Case of Benjamin Button WB $2,608,363 2/6
5 Kadri'nin götürdügü yere git Medyavizyon $2,388,416 1/16
6 Vali (2009) Medyavizyon $2,227,940 1/9
7 Yes Man WB $1,883,542 1/16
8 Slumdog Millionaire Chantier $1,869,006 2/27
9 Fast and Furious UIP $1,558,249 4/3
10 Twilight Tiglon $1,465,726 1/16
11 The Tale of Despereaux UIP $1,420,078 1/23
12 Ayakta Kal UIP $1,128,543 1/16
13 Umut Ozen Film $945,268 2/27
14 Vicky Cristina Barcelona Tiglon $910,973 1/9
15 Inkheart Medyavizyon $884,658 1/23
16 My Bloody Valentine 3-D WB $875,120 2/13
17 Valkyrie Tiglon $855,129 1/30
18 Knowing WB $840,922 4/10
19 The Unborn (2009) UIP $781,125 1/9
20 Watchmen UIP $587,002 3/6
Turkish films in Bold
1 Recep Ivedik 2 Ozen Film $20,769,050 2/13
2 Günesi gördüm Pinema $11,367,756 3/12
3 Güz sancisi Ozen Film $2,889,639 1/23
4 The Curious Case of Benjamin Button WB $2,608,363 2/6
5 Kadri'nin götürdügü yere git Medyavizyon $2,388,416 1/16
6 Vali (2009) Medyavizyon $2,227,940 1/9
7 Yes Man WB $1,883,542 1/16
8 Slumdog Millionaire Chantier $1,869,006 2/27
9 Fast and Furious UIP $1,558,249 4/3
10 Twilight Tiglon $1,465,726 1/16
11 The Tale of Despereaux UIP $1,420,078 1/23
12 Ayakta Kal UIP $1,128,543 1/16
13 Umut Ozen Film $945,268 2/27
14 Vicky Cristina Barcelona Tiglon $910,973 1/9
15 Inkheart Medyavizyon $884,658 1/23
16 My Bloody Valentine 3-D WB $875,120 2/13
17 Valkyrie Tiglon $855,129 1/30
18 Knowing WB $840,922 4/10
19 The Unborn (2009) UIP $781,125 1/9
20 Watchmen UIP $587,002 3/6
2008 Box office ranking based on Gross
Rank / Movie Title / Distributor / Gross / Release Date
Foreign films in Bold
1 Recep Ivedik Ozen Film $24,632,784 2/22
2 A.R.O.G UIP $19,403,566 12/5
3 Issiz adam Cinefilm $14,515,789 11/7
4 Muro: Nalet olsun içimdeki insan sevgisine Ozen Film $11,526,993 12/5
5 Osmanli cumhuriyeti UIP $7,334,710 11/21
6 Mustafa WB $5,589,390 10/29
7 Maskeli besler kibris UIP $5,575,199 1/11
8 Çilgin dersane kampta Ozen Film $5,284,100 1/11
9 O... Çocuklari Kenda $4,358,771 5/16
10 Journey to the Center of the Earth Medyavizyon $3,585,149 7/18
Foreign films in Bold
1 Recep Ivedik Ozen Film $24,632,784 2/22
2 A.R.O.G UIP $19,403,566 12/5
3 Issiz adam Cinefilm $14,515,789 11/7
4 Muro: Nalet olsun içimdeki insan sevgisine Ozen Film $11,526,993 12/5
5 Osmanli cumhuriyeti UIP $7,334,710 11/21
6 Mustafa WB $5,589,390 10/29
7 Maskeli besler kibris UIP $5,575,199 1/11
8 Çilgin dersane kampta Ozen Film $5,284,100 1/11
9 O... Çocuklari Kenda $4,358,771 5/16
10 Journey to the Center of the Earth Medyavizyon $3,585,149 7/18
Alltime Turkish Box Office Ranking
Rank/ Film / (release) / Tickets
1 Recep İvedik (2008) 4,301,641
2 Kurtlar Vadisi-Irak (2006) 4,256,567
3 G.O.R.A (2004) 4,001,071
4 Babam ve Oğlum (2005) 3,837,876
5 A.R.O.G (2008) 3,457,966
6 Vizontele (2001) 3,308,120
7 Vizontele Tuba (2004) 2,894,802
8 Titanik (1998) 2,844,022
9 Hababam Sınıfı Askerde (2005) 2,586,132
10 Eşkiya (1996) 2,571,133
11 Organize İşler (2005) 2,558,069
12 Kahpe Bizans (2000) 2,472,162
13 Muro (2008) 2,165,199
14 Hababam Sınıfı 3.5 (2006) 2,068,165
15 Beyaz Melek (2007) 2,030,444
16 Issız Adam (2008) 2,012,780
17 Kabadayı (2007) 2,002,005
18 Asmalı Konak (2003) 1,791,396
19 Yüzüklerin Efendisi: Yüzük Kardeşliği (2001) 1,759,705
20 Truva (2004) 1,692,458
1 Recep İvedik (2008) 4,301,641
2 Kurtlar Vadisi-Irak (2006) 4,256,567
3 G.O.R.A (2004) 4,001,071
4 Babam ve Oğlum (2005) 3,837,876
5 A.R.O.G (2008) 3,457,966
6 Vizontele (2001) 3,308,120
7 Vizontele Tuba (2004) 2,894,802
8 Titanik (1998) 2,844,022
9 Hababam Sınıfı Askerde (2005) 2,586,132
10 Eşkiya (1996) 2,571,133
11 Organize İşler (2005) 2,558,069
12 Kahpe Bizans (2000) 2,472,162
13 Muro (2008) 2,165,199
14 Hababam Sınıfı 3.5 (2006) 2,068,165
15 Beyaz Melek (2007) 2,030,444
16 Issız Adam (2008) 2,012,780
17 Kabadayı (2007) 2,002,005
18 Asmalı Konak (2003) 1,791,396
19 Yüzüklerin Efendisi: Yüzük Kardeşliği (2001) 1,759,705
20 Truva (2004) 1,692,458
Turkish Provinces with no Movie Theaters
Turkish Provinces with no Movie Theaters: Gümüşhane, Bayburt, Ağrı, Iğdır, Ardahan, Muş, Mardin Kilis, Şırnak and Siirt.
Turkey has 1575 screens mainly in major cities like Istanbul, Ankara and Izmir. 70% of the screens are operated by independant owners (mostly 1-2 screens) and 6 national chains operate the other 30%.
2008 Turkish Box office
Top 10 Box office (all Turkish films)
RANK/NAME/Ticket Sales
1 RECEP İVEDİK 4,301,641
2 A.R.O.G: BİR YONTMATAŞ FİLMİ* 3,457,966
3 MURO* 2,165,199
4 ISSIZ ADAM* 2,012,780
5 OSMANLI CUMHURİYETİ* 1,401,420
6 MUSTAFA 1,098,687
7 120 1,033,917
8 MASKELI BEŞLER: KIBRIS 95,141 960,979
9 ÇILGIN DERSANE KAMPTA 6,314,199 899,314
10 O… ÇOCUKLARI 713,546
[*] in current release Friday, December 19, 2008
in 2007 only 5 films in top 10 were Turkish productions.
Total films released in 2008: 256
Toal Turkish Films released in 2008 : 50 (19.53 %) [1]
Total tickets: toplam 38.465.046
Total Tickets sold for Turkish films: 23.074.291 (59.99 %) [2]
Total Box Office: 301.652.746 TL
Average Ticket Price: 7.84 TL [3]
Highest Box Office: Week 49
Best box office month : December 2008
[1] Not including the Turkish films released in 2007 that was still in release in 2008.
[2] Including ticket sales for the Turkish films released in 2007 that was still in release in 2008.
[3] January 1, 2008 parity with US$
TRY Turkey Lira 1.170 Units per USD
December 31, 2008 parity with US$
TRY Turkey Lira 1.540 Units per USD
Source:Haftalık Antrakt Sinema Gazetesi
Based on year-end Türkiye's Weekend Market Datas" chart by the Weekly Antrakt Cinema Newspaper
RANK/NAME/Ticket Sales
1 RECEP İVEDİK 4,301,641
2 A.R.O.G: BİR YONTMATAŞ FİLMİ* 3,457,966
3 MURO* 2,165,199
4 ISSIZ ADAM* 2,012,780
5 OSMANLI CUMHURİYETİ* 1,401,420
6 MUSTAFA 1,098,687
7 120 1,033,917
8 MASKELI BEŞLER: KIBRIS 95,141 960,979
9 ÇILGIN DERSANE KAMPTA 6,314,199 899,314
10 O… ÇOCUKLARI 713,546
[*] in current release Friday, December 19, 2008
in 2007 only 5 films in top 10 were Turkish productions.
Total films released in 2008: 256
Toal Turkish Films released in 2008 : 50 (19.53 %) [1]
Total tickets: toplam 38.465.046
Total Tickets sold for Turkish films: 23.074.291 (59.99 %) [2]
Total Box Office: 301.652.746 TL
Average Ticket Price: 7.84 TL [3]
Highest Box Office: Week 49
Best box office month : December 2008
[1] Not including the Turkish films released in 2007 that was still in release in 2008.
[2] Including ticket sales for the Turkish films released in 2007 that was still in release in 2008.
[3] January 1, 2008 parity with US$
TRY Turkey Lira 1.170 Units per USD
December 31, 2008 parity with US$
TRY Turkey Lira 1.540 Units per USD
Source:Haftalık Antrakt Sinema Gazetesi
Based on year-end Türkiye's Weekend Market Datas" chart by the Weekly Antrakt Cinema Newspaper
Sunday, April 19, 2009
IIFF 2009 | Men on the Bridge
MEN ON THE BRIDGE | KÖPRÜDEKİLER
Director: Aslı Özge
Cast: Fikret Portakal, Murat Tokgöz, Umut İlker
Germany-Turkey, 2009 | 35 mm / Colour / 90' | Turkish; English s.t.
ProductionFabian Massah for Endorphine Production GmbH
The illegal rose-seller Fikret, the shared-taxi driver Umut, and the traffic policeman Murat live in the suburbs of Istanbul and come to work to the centre of the city, the Bosphorus Bridge. Unknown to each other, their dreams intersect in the rush hour every day with millions of other Istanbulites on the so-called border between Asia and Europe. The film's stories are based on the real lives of the main characters, who act themselves in their original environments. Telling the stories of Berliners in her first fiction feature A Little Bit of April (2003), Aslı Özge this time tells about the dreams and aspirations of the young generation in Istanbul.
Filmography
Köprüdekiler (2009)
... aka Igne deligi (Turkey: Turkish title)
... aka Men on the Bridge (International: English title)
Ein bisschen April | A Little Bit of April | Biraz Nisan (2003) (TV) 99 min.
Cast: Thomas Gerber, Dagmar Gabler, Christian Wewerka, Anja Ressmer
Berlin in April. Luka spends his days looking for the house he has seen in his dreams since he was a child. At night he secretly returns to these houses to see if he can sleep there without having nightmares. One night he meets Vera with whom he once had an affair. His mysterious existence also attracts Tim, a failed writer who cannot accept that his glory days are over. And then there’s Cem who dreams of becoming a famous musician and the beautiful but naive Isa. For each of them, moving to a new house is an end in itself, but also a new beginning.
IIFF 2009 | The Awards
The Awards Ceremony and the Closing Gala of the 28th edition of the International İstanbul Film Festival was held on Saturday, April 19, at Lütfi Kırdar Convention and Exhibition Centre. The Lifetime Achievement Award of the Festival was presented to Polish director Jerzy Skolimowski. The other awards:
INTERNATIONAL GOLDEN TULIP COMPETITION
The International Jury of the 28th International Istanbul Film Festival presided over by director Goran Paskaljevic and composed of film critic Mike Goodridge, Managing Director of Holland Film, President of the European Film Promotion and member of the selection committee for the Competition Programme of the Berlin International Film Festival Claudia Landsberger, director Cristian Mungiu and director Ümit Ünal has decided to give the:
Golden Tulip to TONY MANERO directed by Pablo Larraín, which the jury felt was a highly original portrait of life under an oppressive political regime, and which is shocking, funn7px;y and moving.
Special Jury Prize to A FILM WITH ME IN IT directed by Ian Fitzgibbon, which the jury thought was that rare comedy which keeps you laughing from beginning to end with its unusual story and dark, dark humour.
NATIONAL COMPETITION
The National Jury of the 28th International Istanbul Film Festival presided over by director Kutluğ Ataman, and composed of consultant editor of the TimeOut Film Guide Geoff Andrew, author Ayşe Kulin, producer Zeynep Özbatur, Sarajevo Film Festival Director Mirsad Purivatra and actress Bennu Yıldırımlar has decided to give:
the Golden Tulip Best Film Award to KÖPRÜDEKİLER / MEN ON THE BRIDGE directed by Aslı Özge;
the Best Director Award to MAHMUT FAZIL COŞKUN for his film Uzak İhtimal / Wrong Rosary.
The Ministry of Culture and Tourism of Turkey gave a monetary prize of 50,000 TL to each of the above-mentioned winners.
the Best Actress Award to DERYA ALABORA for her performance in Pandora'nın Kutusu / Pandora's Box;
the Best Actor Award to NADİR SARIBACAK for his performance in Uzak İhtimal / Wrong Rosary.
The Ministry of Culture and Tourism of Turkey gave a monetary prize of 10,000 TL to each of the above-mentioned winners.
the Best Screenplay Award to TARIK TUFAN, GÖRKEM YELTAN, BEKTAŞ TOPALOĞLU for their screenplay for Uzak İhtimal / Wrong Rosary;
the Best Director of Photography Award to ÖZGÜR EKEN for his work in Süt / Milk;
the Best Music Award to NAİL YURTSEVER for his work for Ali'nin Sekiz Günü / Ali's Eight Days;
the Special Prize of the Jury to 11'E 10 KALA / 10 TO 11 by Pelin Esmer.
INTERNATIONAL GOLDEN TULIP COMPETITION
The International Jury of the 28th International Istanbul Film Festival presided over by director Goran Paskaljevic and composed of film critic Mike Goodridge, Managing Director of Holland Film, President of the European Film Promotion and member of the selection committee for the Competition Programme of the Berlin International Film Festival Claudia Landsberger, director Cristian Mungiu and director Ümit Ünal has decided to give the:
Golden Tulip to TONY MANERO directed by Pablo Larraín, which the jury felt was a highly original portrait of life under an oppressive political regime, and which is shocking, funn7px;y and moving.
Special Jury Prize to A FILM WITH ME IN IT directed by Ian Fitzgibbon, which the jury thought was that rare comedy which keeps you laughing from beginning to end with its unusual story and dark, dark humour.
NATIONAL COMPETITION
The National Jury of the 28th International Istanbul Film Festival presided over by director Kutluğ Ataman, and composed of consultant editor of the TimeOut Film Guide Geoff Andrew, author Ayşe Kulin, producer Zeynep Özbatur, Sarajevo Film Festival Director Mirsad Purivatra and actress Bennu Yıldırımlar has decided to give:
the Golden Tulip Best Film Award to KÖPRÜDEKİLER / MEN ON THE BRIDGE directed by Aslı Özge;
the Best Director Award to MAHMUT FAZIL COŞKUN for his film Uzak İhtimal / Wrong Rosary.
The Ministry of Culture and Tourism of Turkey gave a monetary prize of 50,000 TL to each of the above-mentioned winners.
the Best Actress Award to DERYA ALABORA for her performance in Pandora'nın Kutusu / Pandora's Box;
the Best Actor Award to NADİR SARIBACAK for his performance in Uzak İhtimal / Wrong Rosary.
The Ministry of Culture and Tourism of Turkey gave a monetary prize of 10,000 TL to each of the above-mentioned winners.
the Best Screenplay Award to TARIK TUFAN, GÖRKEM YELTAN, BEKTAŞ TOPALOĞLU for their screenplay for Uzak İhtimal / Wrong Rosary;
the Best Director of Photography Award to ÖZGÜR EKEN for his work in Süt / Milk;
the Best Music Award to NAİL YURTSEVER for his work for Ali'nin Sekiz Günü / Ali's Eight Days;
the Special Prize of the Jury to 11'E 10 KALA / 10 TO 11 by Pelin Esmer.
Saturday, April 11, 2009
IIFF 2009 |RED BRIDGE
RED BRIDGE | PIRDESUR (KIRMIZIKÖPRÜ)
Director: Caner Canerik
Cast: Ali Şanlı, Cevahir Şanlı, Metin Güler
Turkey, 2008 | miniDV / Colour / 90' | Turkish-Kurkish; English s.t.
The latest film from director Caner Canerik, who has switched to documentaries after a career in news reporting chronicles his observations from the Kırmızıköprü Village (Pırdesur in Kurdish) in Pülümür town in the east of Turkey where he was born, and his return years after he has left for college. Especially after 1990, internal migration caused big tragedies in the east and south east regions of Turkey. Three million people, according to unofficial statistics, left their homes and savings and migrated to cities they hardly knew. Kırmızıköprü now only has a population of 30 following emigration from the village, and the stories of these people who did not migrate, who continued to live there reflect the cultural and social transformation, life and struggle in the village.
IIFF 2009 | THE VOYAGE OF NÂZIM HİKMET TO CUBA
THE VOYAGE OF NÂZIM HİKMET TO CUBA
NÂZIM'IN KÜBA SEYAHATİ
Directors: Çağrı Kınıkoğlu & Gloria Rolando
Turkey-Cuba, 2008 | HD / Colour / 68' | Turkish-Spanish; English s.t.
The great poet of equality, freedom, and the Turkish language, Nâzım Hikmet had visited Cuba in 1961, on the invitation of his friend, the Cuban poet Nicolas Guillen. A member of the World Peace Council then, Nâzım went to Cuba in May 1961 for solidarity and also to observe the enthusiasm and the progress of the 1959 Cuban Revolution. Through the testimonies of Cuban intellectuals whom Nâzım had met in this joyous voyage, and through other documents and archive materials, such as the recording of Nâzım's poem the "Havana Interview", the film discovers how the Cuban Revolution influenced Nâzım and how Nâzım influenced the Cuban intellectuals. This is a story of compatriot brotherhood and hope.
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