A young art teacher hopes to be transfered to Istanbul after completing his mandatory duty in a remote village school in Anatolia. After accusations of innapropriate contact with a student surface, his hopes of escape fade and he descends further into an existential crisis.

About.Dry.Grasses.2023.1080p.BluRay.DDP5.1.x264-ZoroSenpai.mkv

General
Container:  	Matroska
Runtime: 	3 h 17 min
Size: 	21.6 GiB
Video
Codec: 	x264
Resolution: 	1920x804 
Aspect ratio:  	2.39:1
Frame rate: 	24.000 fps
Bit rate: 	14.6 Mb/s
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https://nitro.download/view/AAB5C38C2916E89/About.Dry.Grasses.2023.1080p.BluRay.DDP5.1.x264-ZoroSenpai.mkv

Language(s):Turkish
Subtitles:English, Arabic, Dutch, French, Indonesian, Turkish

The post Nuri Bilge Ceylan – Kuru Otlar Üstüne AKA About Dry Grasses (2023) (HD) first appeared on Cinema of the World.

A group of men set out in search of a dead body in the Anatolian steppes. (IMDb)

Bir zamanlar Anadolu'da BluRay DD5.1 x264 EA.mkv

General
Container:  	Matroska
Runtime: 	2h 37mn
Size: 	2.41 GiB
Video
Codec: 	x264
Resolution: 	1024x436 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	1 740 Kbps
BPP: 	0.163
Audio
#1:  	Turkish 5.1ch AC-3 @ 448 Kbps

https://nitro.download/view/B68D38E3C52C57F/Bir_zamanlar_Anadolu’da_BluRay_DD5.1_x264_EA.mkv

Language(s):Turkish
Subtitles:English

The post Nuri Bilge Ceylan – Bir Zamanlar Anadolu’da AKA Once Upon a Time in Anatolia (2011) first appeared on Cinema of the World.

Quote:
Depiction of a small Turkish town, as seen from the perspective of an 11 year old girl and her 7 year – old brother. The four part film unfolds along with the seasons. The first part is set at the school the girl attends, the social environment she must adapt to and its difficulties. She faces with her feeling of shame and some merciless clues of life. The second part is in spring. We see the girl with her brother and their journey to the maize field where their family are waiting for them. As they pass through the countryside, they encounter the mysteries of nature and wildlife. The childhood cruelty of the spring scenes flows into a summer evening when the children with their parents, grandparents and a cousin are roasting maize by a fire. Here the brother and sister witness the complexities and darkness of the adult world. The adults conversation, that is about war, death, poverty, hunger, work and reputation, reveal all kinds of things about the family. The fourth part takes place at home. This is a tranquil sequence moving between reality and dream.

“Kasaba” is an extremely personal film, like stylized poetry, beautifully shot with amateur actors. Shot in Black and White, was made on a low budget, not just due to a lack of money, but also because Ceylan wanted to work with a small crew to create an intimate mood. The actors in the film are mainly relatives and friends of the director, the script is based on an autobiographical story by his sister and was shot in a village in Anatolia where he spent his childhood.

2.28GB | 1 h 23 min | 960×576 | mkv

https://nitro.download/view/68DC14783CBE3FE/Nuri_Bilge_Ceylan_-_(1997)_Kasaba.mkv

Language(s):Turkish
Subtitles:English

The post Nuri Bilge Ceylan – Kasaba AKA The Small Town (1997) first appeared on Cinema of the World.

Quote:
Turkish filmmaker Nuri Bilge Ceylan’s cinema studies alienation through mainly minimalist means. Since Clouds of May (Mayis Sikintisi) and Distant (Uzak), which won the Grand Prix and a double prize for Best Actor at Cannes, the most conspicuous trait that makes him an auteur is his personal touch. Emotional distances filled in with long silences and uncertainties on faces in close-ups, supported by beautifully shot landscapes, are his trademarks. With a poetic, yet almost painfully honest approach, he passionately continues depicting the complexity of the human soul and its divine dilemmas. His talent is often comparable to great directors such as Bergman, Antonioni, Bresson, Tarkovsky and he clearly emphasizes the motto “less is more.”

His fourth and latest film shot in HD digital video, Climates (Iklimler), also tells of the intricacy of the human psyche by way of a couple on the brink of separation. Resembling Distant, which focused on two male relatives, Climates studies the relationships between men and women. With the same style and existentialist approach along with a thinner storyline, he delicately manages to walk about in dangerous fields of the human heart.

This time, the director is both in front of and behind the camera. He stars as the lead with Ebru Ceylan (his wife in real life) and Nazan Kesal, two actresses who had already appeared in small parts in his previous pictures. The Ceylans’ performances are more than satisfying, and the director himself as the focal character of the film especially deserves most of the attention.

Climates is simply a close-up on a couple in crisis: Isa (played by the director) is a middle-aged university professor, and his young girlfriend Bahar (Ebru Ceylan) is a TV art director. As the title suggests, the film takes place during three seasons (hot summer, rainy autumn and snowy winter), and these meteorological changes symbolise the different mood and states of the couple’s relationship. (For those who might wonder about the missing season, Ceylan includes this by naming the wife Bahar, which means “Spring” in Turkish. Isa, by the way, means “Jesus.”)

The film begins with the couple on vacation in Kas, a favourite tourist resort on the southern Turkish coast, replete with historical sites. On this hot summer day, while Isa busies himself with photographing the ruins, she seems to have nothing else to do but accompany him. And next, in a single take, we see her gaze at the view and she starts to cry in a most delicate way. Followed by the opening credits, this scene gives the viewer a voyeuristic role, which includes an intimate journey to a human heart. It is also possible to argue that the bee that Isa notices as he lazily lies amidst the ruins and which later lands on Bahar’s hair as she cries, stands for the couple’s souls that do not touch one another anymore. At the same time, this scene is a clear notification that there’s very little in the script that gives much away about the characters and the reasons for the emotional distance in their relationship. Later that evening at the dinner table with Isa’s friends, we observe that Bahar is not naïve, as she exposes her unhappiness by her passive-aggressive behaviour matching Isa’s. Resisting traditional formulas, director Ceylan does not give much clue about their past or what happened earlier between them. Instead, in a subtle way, he slowly leads us to the heart of a broken relationship. The following day at the beach, in a magnificently detailed scene, it’s obvious that she feels very much drowned in this affair, but he is the first one to verbally try to end it, and suggest they remain friends. Friends? Devastated, but still proud to cry out for love, Bahar’s startling manner during the motorbike ride perfectly dramatizes the reaction to any break-up’s unbearable cruelty, and she ends up returning back home to Istanbul on her own.

In Climates’ second part, set in Istanbul during the rainy days of autumn, Isa runs into Serap (Nazan Kesal), with whom he had an affair in the past. He stalks Serap, who actually is involved with a friend of his, and waits outside her house. After Serap takes him in, we get a hint at Isa’s self-centred character through his reaction to her initially somewhat distant stance and flirtatious reproaches. Yet, it is virtually impossible to be prepared at what awaits us. In a perfectly choreographed single take, the banality of a rough sex scene between them exposes not only Isa’s general frustration of his inner self but also the director’s intention to show the much less attractive side of casual human behaviour. This painfully honest approach is shocking to the viewer while it entertains with its perfectly absorbed wit. (Any more nuts?) More witty moments resurface in a later occasion that concerns the pair in a more affectionate way, when Serap wants to make love but Isa’s already got cold feet after learning from her that Bahar has left Istanbul to work on a TV series shot in snowy, mountainous eastern Turkey. He tries to avoid having sex and excuses himself from her with a TV story about an earthquake, which is pathetically ironic. On the other hand, these scenes emphasise that the story is in favour of Isa rather than the two women. Of course, Ceylan told men’s story previously in Clouds of May and Distant, in which female characters are sidekicks of the stories. However, with her heavy make-up and her attitude, Serap, who tends to embrace Isa for the way he is and who is portrayed as a frivolous woman rather than someone open to be seduced by him, jolts and pushes the tactful balancing of the director’s approach as an excessively underlined alternative to Bahar.

Enhancing the dilemma of solitary and desolate souls in social and economic environments similar to Distant, Ceylan presents a further minimalist story in Climates. However, he misses the target with his protagonist’s relationship with a male colleague at the university where he teaches. Although their conversation sequences, apart from being simple transitions in the Autumn section, aim at accentuating the triviality of daily routine as an exemplar of ordinary “buddy talk”, they create a hiatus in the poetic narration’s continuity, failing to create a lasting effect on the film as a whole or as a gag.

Climates’ final part is the most spectacular and glorious cinematic experience of all. Isa is now in a small town called Agri, drowned in snowy winter, looking for Bahar. Once again, we are not sure what his main motive is for being there. Does he love Bahar? Or is it a power struggle? Because she seems to have moved on, as a stronger figure than before in the film, could it all be about him challenging the idea that he could still have her? None of these matter. Director Ceylan skillfully creates the final climate between the two protagonists, and their last (or not) decision in their relationship. The marvellous scene in the minibus, both heartbreaking and hilariously witty, is one of the great trademarks of Ceylan’s cinematic ability in minimalist storytelling. After all close-ups, the stillness of the emotional distance deeply moves us and remains in our hearts.

3.13GB | 1 h 38 min | 1024×528 | mkv

https://nitro.download/view/3B74871FEC6988E/Nuri_Bilge_Ceylan_-_(2006)_Climates.mkv

Language(s):Turkish
Subtitles:English

The post Nuri Bilge Ceylan – Iklimler aka Climates (2006) first appeared on Cinema of the World.

Quote:
The Wild Pear Tree is a gentle, humane, beautifully made and magnificently acted movie from the Turkish film-maker and former Palme winner Nuri Bilge Ceylan: garrulous, humorous and lugubrious in his unmistakable and very engaging style. It’s an unhurried, elegiac address to the idea of childhood and your home town – and how returning to both has a bittersweet savour. As in his previous film, Winter Sleep, he draws on the spirit of Chekhov. But his style is all his own: not Chekhovian, but Ceylanian. There are scenes in which people placidly watch TV: largely histrionic soaps whose contrast to the film itself is a type of comedy the director playfully allows us to notice. In fact, The Wild Pear Tree is not unlike a telenovela of family life, taken at a very high-minded, andante pace.

An ambitious, malcontent young graduate and would-be writer comes back to his rural village with a diploma but no job. Now he has to decide whether to take the exams to be a teacher like his old man. There is also his military service to get out of the way. He senses defeat and disappointment with life in some of those local friends and family he has left behind – or is it that he has projected on to them his own dread of a failure yet to come? Has he misread their humility and acceptance and miscalculated the price he will have to pay for his yearned-for differentness from them, and for all that glamorous big-city success?

The graduate is Sinan (Aydın Doğu Demirkol), who has come back with ambiguous feelings about the place where he grew up. As for so many writers, his home looks wonderful when he is away from it, when it is tamed and transformed by his imagination. But actually being there reminds him of all its irritations and absurdities. Sinan is from a village near the port of Çanakkale, a tourist destination on account of being near the site of the first world war Gallipoli campaign, and also the ancient city of Troy. We see Sinan at one stage trudging past a huge statue of the Trojan horse, built for the Brad Pitt movie Troy and now reverently maintained in the city.

Sinan knows he cannot afford to despise bumpkins, because his literary debut is going to be a work about this very homeland. It’s an autobiographical essay /memoir about the local landscape, entitled The Wild Pear Tree, concerning that rough beautiful terrain where these trees grow. Later, Sinan’s scapegrace dad will say that all the people around those parts are like wild pears: “Misfits, solitary, misshapen.” Ceylan saves this line for near the end, perhaps reluctant to make the title’s metaphorical function too obvious.

His father is Idris, tremendously played by Murat Cemcir, a man whose youthful charm and romanticism has curdled with age into a pre-emptive bluster and cajoling. He is a gambling addict who has borrowed money all over town; his addiction has kept his family on the poverty line. Only by confiscating his debit card and grabbing his pay packet the moment it arrives has his wife kept the household afloat. But Idris owns a tiny bit of land near the house, and he has got it into his head that there is a water source there, so he spends every weekend digging a well, hoping for the water to come trickling in. Sinan senses that this tough quest is not unlike a writer’s life. There is a quietly hilarious sequence when we watch Idris, Sinan and Idris’s own exasperated father trying to winch a boulder out of this deep pit.

Warily, Sinan touches base with everyone in the village: apart from everything else, he needs loans or donations to publish his book himself. His mum’s elderly father is a retired imam who is used, and rather exploited, by the conceited young incumbent as an unpaid replacement for various duties. He sees some of his old friends. Most importantly, he sees Hatice (Hazar Ergüçlü), a beautiful young woman who he was once in love with, and probably still is.

There are some stunning images in the film: particularly the vision of a baby covered in ants, which is to be developed into that of an adult covered in ants. There are great scenes; it is in some sense a short-story anthology of such scenes. His encounter with Hatice is breathtakingly good: the mood shifts and tones are superbly managed. She teases him about his grumpiness; he goads her about what looks like an imminent submission to marriage. He thought she was still together with a rival of his, but this is wrong. Their tensely murmured conversation has a fascinatingly erotic conclusion. I was a little sad that this gripping relationship disappears from the film, except in a later scene in which Hatice is the reason for a punch-up between her ex-boyfriend Riza (Ahmet Rifat Sungar) and Sinan, who appears to have been unable to resist boasting about this earlier encounter.

There is another glorious scene in which the bumptious Sinan notices a famous writer Süleyman (Serkan Keskin) in a Çanakkale bookshop and presumes to go up and ask for advice. Cautiously, Süleyman agrees but is then dismayed by the ungrateful way Sinan doesn’t seem to accept or listen to what he has to say, and reveals that he only wants to needle Süleyman about all the petty vanities and hypocrisies of the literary establishment. Irritated beyond endurance, Süleyman finally screams at him to go away – and the audience can see exactly how he feels.

But we have to sympathise with Sinan in another beguilingly comic scene in which the young man, having failed to get public money to help with publishing costs from the mayor, goes to see a local builder because the man is supposed to be a great reader and reputedly helps with projects like this. When Sinan gets there, he realises the awful truth. This builder doesn’t care at all for being a sponsor of literature – he simply bought a few books of local history because he wanted lucrative government contracts from the mayor. The excruciating disappointment and strained politeness of this scene are a joy.

And all the time the question of life, and the gamble on life that we are required to make in our early 20s, runs under the movie’s meandering path. It is another deeply satisfying, intelligent piece of film-making from Ceylan. The indulgent Idris tells his son that he often has a wild pear for breakfast and it is delicious. This film is, too.

Nuri Bilge Ceylan - (2018) The Wild Pear Tree.mkv

General
Container:  	Matroska
Runtime: 	3 h 8 min
Size: 	2.44 GiB
Video
Codec: 	x264
Resolution: 	1024x432 
Aspect ratio:  	2.40:1
Frame rate: 	24.000 fps
Bit rate: 	1 662 kb/s
BPP: 	0.157
Audio
#1:  	Turkish 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/06443EF8BD11215/Nuri_Bilge_Ceylan_-_(2018)_The_Wild_Pear_Tree.mkv
https://nitro.download/view/DF9B6FD0781725E/Making_of_The_Wild_Pear_Tree_-_Part_1_-_720p_-_VIMEO_WEB-DL.mkv
https://nitro.download/view/0B45B6D8C96987E/Making_of_The_Wild_Pear_Tree_-_Part_2_-_720p_-_VIMEO_WEB-DL.mkv
https://nitro.download/view/97D7050995B4C96/Making_of_The_Wild_Pear_Tree_-_Part_3_-_720p_-_VIMEO_WEB-DL.mkv

Language(s):Turkish
Subtitles:English

The post Nuri Bilge Ceylan – Ahlat Agaci AKA The Wild Pear Tree (2018) first appeared on Cinema of the World.

Quote:
Winner of the prestigious Fipresci Award at the 2006 Cannes Film Festival, CLIMATES is internationally acclaimed writer-director Nuri Bilge Ceylan s sublime follow-up to his Cannes multi-award winner DISTANT. Beautifully drawn and meticulously observed, the film vividly recalls the cinema of Italian master Michelangelo Antonioni with its poetic use of landscape and the incisive, exquisitely visual rendering of loneliness, loss and the often-elusive nature of happiness. During a sweltering summer vacation on the Aegean coast, the relationship between middle-aged professor Isa (played by Ceylan himself) and his younger, television producer girlfriend Bahar (the luminous Ebru Ceylan, Ceylan s real-life wife) brutally implodes. Back in Istanbul that fall, Isa rekindles a torrid affair with a previous lover. But when he learns that Bahar has left the city for a job in the snowy East, he follows her there to win her back. Boasting subtly powerful performances, heart-stoppingly stunning cinematography (Ceylan s first work in high definition) and densely textured sound design, CLIMATES is the Turkish filmmaker’s most gorgeous rumination yet on the fragility and complexity of human relationships. (amazon.com)

http://nitroflare.com/view/8EF512951734ECC/Iklimler.AKA.Climates.2006.WEB-DL.AAC2.0.H.264-Cinefeel.mkv

Language(s):Turkish
Subtitles:English [Soft]

The post Nuri Bilge Ceylan – Iklimler (2006) first appeared on Cinema of the World.

Synopsis wrote:
Uzak/Distant chronicles the numbing loneliness, longing, and isolation in the lives of two men who are consumed by their own problems. Istanbul photographer Mahmut reluctantly receives his relative Yusuf, but the mingling of their lives does little to alleviate their detachment.

Roger Ebert wrote:
How is it that the same movie can seem tedious on first viewing and absorbing on the second? Why doesn’t it grow even more tedious? In the case of “Distant,” which I first saw at Cannes in 2003, perhaps it helped that I knew what the story offered and what it did not offer, and was able to see it again without expecting what would not come.

The film takes place in Turkey, but its dynamic could be transplanted anywhere — maybe to our own families. It is about a cousin from the country who comes to the big city searching for work and asks to stay “for a few days” with his relative, who is a divorced photographer with walls filled with books and an apartment filled with sad memories.

Mahmut (Muzaffer Ozdemir) is the photographer, whose wife has divorced him and is marrying another man; the couple will move to Canada. What went wrong is not hard to guess: Mahmut is a man of habit, silent, introspective, exhausted by life. Yusuf (Mehmet Emin Toprak) comes from a town where the factory has failed, and there are no jobs; he foolishly thinks he can get hired on one of the ships in the port, but there are no jobs, and an old sailor informs him that the wages are so bad, he’ll never have anything left over to send home.

It is the dead of winter. Yusuf tramps through the snow with no gloves and inadequate shoes, and his job search starts unpromisingly when the first ship he finds is listing and sinking. He haunts the coffee bars of the sailors, who smoke and wait. Mahmut, meanwhile, says goodbye to his wife and then secretly and sadly watches her leaving from the airport. He has a shabby affair with a woman who lives nearby and who will not make eye contact in a restaurant. He watches art videos (Tarkovsky, I think) to drive Yusuf from the room and then switches to porno.

For both men, smoking is a consolation, and they spend a lot of time standing alone, doing nothing, maybe thinking nothing, smoking as if it is a task that provides them with purpose. Mahmut has rules (smoking only in the kitchen or on the balcony), but Yusuf sits in his favorite chair and smokes and drinks beer when Mahmut is away, and Mahmut grows gradually furious at the disorder that has come into his life. “Close the door,” he says as Yusuf goes to the guest bedroom, because he wants to shut him away from his privacy.

A photographic expedition to the countryside, with Yusuf hired as his assistant, turns out badly for Mahmut; sharing rented rooms, they invade each other’s space. Finally, Mahmut has had enough and asks Yusuf, “What are your plans?” But Yusuf has none. He does not even have an opening for plans. He is trapped in unemployment, has no money, no skills, no choices.

The film, directed by Nuri Bilge Ceylan, is shot with a frequently motionless camera that regards the men as they, frequently, regard nothing in particular. It permits silences to grow. Perhaps in the hurry of Cannes, with four or five films a day, I could not slow down to occupy those silences, but seeing the film a second time, I understood they were crucial: There is little these men have to say to each other and — more to the point — no one else for them to talk with. Women are a problem for them both. Yusuf shadows attractive women but is too shy to approach them before they inevitably meet a man and walk off arm-in-arm. A man without funds is in a double bind: He has no way to attract good women or to hire bad ones. The one sex scene we witness with Mahmut, which is out of focus at the far end of a room, is so joyless that solitude seems preferable.

A movie like this touches everyday life in a way that we can recognize as if Turkey were Peoria. I can imagine a similar film being made in America, although Americans might talk more. What do you say to a relative who is out of work and seems unlikely to ever work again? He is family, and so there is a sense of responsibility bedded in childhood, but there are no jobs and he has no skills, and your own comfort, which seems so enviable to him, is little consolation to you. To have joyless work means you have employment but not an occupation. At the end, one of the men is sitting on a bench on a gray, cold day, staring at nothing, and if we could see the other man, we could probably see another bench. “Distant” is a good title for this movie.

http://nitroflare.com/view/5D378BD44FB94F4/Uzak_%282002%29.mkv

Language(s):Turkish
Subtitles:English

The post Nuri Bilge Ceylan – Uzak AKA Distant (2002) (HD) first appeared on Cinema of the World.