13 June 2014
Haluk Bilginer, Melisa Sözen, Demet Akbag, Ayberk Pekcan, Serhat Mustafa Kiliç, Nejat Isler, Tamer Levent, Nadir Saribacak, Emirhan Doruktutan, Ekrem Ilhan, Rabia Özel, Fatma Deniz Yildiz, Mehmet Ali Nuroglu
Winter Sleep is an artful culmination by Nuri Bilge Ceylan, a film sparkling with abstract expressiveness and sharp social feedback.
Aydin (“scholarly” in Turkish) is a fizzled previous on-screen character, now an inn manager with sufficient legacy to make him order the stage as a deigning “ruler” of a town in Cappadocia. He feels authorized to train, interrupt and judge on his pitiable inhabitants, as well as on his irritated youthful wife Nihal and separated addressing toward oneself sister Necla. This assessment apparently reaches out to poor, uneducated and religious classes of the nation, making Aydin a generalization of the Turkish first class. The fierce taming of the stallion is a purposeful anecdote of his marriage; youthful and really Nihal is only one more ornamental thing in his life, not a single person with her rights and interests. Aydin likewise embodies a male-ruled society, cutting crosswise over levels of instruction and abundance.
A hint of something better over the horizon accompanies a stone breaking the glass. While mercilessly and unequivocally ready to overwhelm other people in his rule, Aydin is exasperatingly tested by an adamant 10 year-old kid Ilyas (Arabic likeness Elijah, a harbinger of the Messiah).
Putting the lens on the never-endingly imagining mind of the western-styled erudite, Winter Sleep depicts the Turkish country battling between the East and the West. Aydin cases to have goals and thoughts yet has no aim to have any kind of effect for the great, does not by any means endeavor to relate to his kindred residents. His understandable quote from Shakespeare echoes an admission.
It’s no fortuitous event that Nuri Bilge Ceylan was enchanted by Chekhov, a similar creator from yet an alternate country torn between human advancements.
Caps off to 2014 Palme d’or judges for their daringness. By perceiving the estimation of Ceylan’s work, they have lured worldwide groups of onlookers to hazard 3 hours 16 minutes of their time to a non-business film, a banquet of cinematography and acting packaged with artistic satisfaction.
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