A Very Short Story

Inspired by the Kronos Quartet Concert at the Barbican, 29th July 2007, featuring Wu Man

The pipa shone with a cold blue, almost ethereal, light, bathing the whole stage in stillness. Nothing had felt more alone than sensing the resounding notes all around me at that moment, vibrating, almost echoing in the empty space around me. At that moment, I knew I was alone.

The quartet continued playing...

I breathed in and out with each movement of the viola bow. I would stop breathing when they ceased brushing their bows against their strings. I was partly glad and partly sad about this connection. The viola slowed down in anticipation of the end of the piece, dragging out the last four notes of the last musical phrase, aptly titled "Royal Funeral." I counted as the viola player moved his bow in precise time steps, as I breathed in and out. One. Two. Three. Four.

The Democratic Stain

I voted for the first time in my life and they marked my index finder with ink, as they always do, to make sure one person doesn't vote a second time to skew the election results. I will carry that stain now for god knows how long and will always be reminded that half of my country doesn't seem to care about secularism as much as I do.

Even though AKP, the mildly islamist party as it's known in the west, hasn't introduced any islamist agenda during its governance so far, they have also never sworn to protect the secular roots of my country. This is where the core of the issue lies. If AKP had stood by secularism while trying to be the modern islamists that they are, the country might be more at ease. This leaves especially the army at an awkward situation. The people have chosen AKP also to send a message to the army: 'Don't interfere with politics anymore.' I firmly believe in this response and applaud the message that's sent, but people should also keep in mind the reasons for the army to be cautious.

In any case, the early elections were a good and healthy sign of democratic life in Turkey. I just hope that AKP uses their proven support by the people to further Turkey's modern aims instead of slowly taking it back towards an islamic republic, which is the nightmare for many, including me.

Refreshingly Frightening - despite a 1973 release date

Don't Look Now (1973) - dir. Nicolas Roeg - 4 stars

I got the opportunity to see this incredible horror film from 1973 on the big screen thanks to the BFI. It was part of the Julie Christie month, but the film really shines due to Donald Sutherland's acting, the refreshingly frightening script, visuals and audio. This film makes many recent horror films look child's play, and this is an incredible accomplishment considering the film doesn't rely on special effects, heavy make-up or a Japanese script.

It all starts when an American couple, the Baxters, lose their girl in their own backyard as she drowns in the river in her red rain cloak. Taunted by this horrific event, the couple move to Venice to recover. Unfortunately, two old ladies in Venice, one of whom claims to be psychic, don't leave the couple in peace. The ladies' ominous claims of seeing their deceased daughter drives Christie's character into half madness whereas it throws Sutherland's character into more dangerous territory.

The brilliancy of the film is in its cinematography, for which it received a BAFTA award, and editing. The setting, Venice, is used to full effect in the film as every shot is carefully planned out with the city in mind. The juxtaposition of Sutherland's character with the gargoyles of the church he's reconstructing are fantastic. As for the editing, it's highlighted to most meaningful impact in perhaps one of the best sequences I've seen in my entire life. As the Baxters are recovering from their daughter's death, there comes a time when they eventually feel 'fine enough' to embrace life by finally acknowledging each other sexually for the first time since their loss. In this sequence, the images of the couple taking their clothes off and embracing each other naked is intertwined with shots of them getting dressed up. This editing technique in this sequence almost visually proves that the Baxters can only start putting on their new clothes and hence their new life by first taking them off and accepting each other again as man and wife.

This beautifully shot film is surprising in its script and really frightening. Director Roeg doesn't use any cheap scares and special effects to get the job done. He actually relies on the script, acting, locale, cinematography and editing to do the job. I wish more modern directors would follow Roeg's lead and create more refreshingly frightening films.

Ne olucak bu Turkiye'nin hali...

The title above in Turkish means "What's going to become of Turkey..."

I'm extremely worried about the political future of my country. I'm not afraid of the AKP Party as many would expect me to, because I don't see them as a threat. I'm more afraid of the power of the military and the absolute secularism that we have enforced on our people, both of which enrage millions, fueling the divisions that already exist within our society.

We are all forgetting that Turkey is a majority Muslim country. The headscarf is a religious symbol, as much as the cross is, so I don't understand why we ban them but not the cross in state buildings and educational facilities. The ban simply gives anti-secularists more power and reasoning for their cause. If we were to allow the headscarf everywhere, we would destroy their logic and thus part of their recruitment strategy. Plus, if we are a secular democracy, then anyone should be able to present themselves in the manner they deem most appropriate. Banning something like a headscarf simply does not go hand in hand with democracy.

The army is not helping either. If we are supposed to be a secular democracy, then why butt in all the time. If this country will be what its citizens want it to be, then don't interfere in the political realm. Doing so again fuels the anti-secularists' debate and may even back-fire. I think the army should recede back from politics.

However, solving these two issues wouldn't help in a significant way, at least not until people can safely defend their candidacy. I read today that one of the independent candidates for Istanbul was shot dead. How does anyone, including the army, expect democracy to function when such acts still go on to threaten new blood and ideas in politics. If people are this easily and silently taken care of, I think we have a bigger threat in Turkey than the AKP Party for the secular democratic traditions of our country.

Nothing special, besides the special effects

Spiderman 3 (2007) - dir. Sam Raimi - 3 stars

Not too much to say here, but there aren't too many expectations either. Let's face it. We're simply expecting a good ride with the third installment of Spiderman, and in my opinion, it delivers this perfect Hollywood ride. It has good special effects, very funny scenes, not one but two super evil characters and a mighty boss fight that reunites some old friends. If you liked the first two (both by Raimi as well), you will definitely like the third one.

Btw, the more I thought about a title for this film's review, the more I was convinced that I had it right all along. As my Serbian friends typically say about their weekends, this film was 'nooooothing special.'

Same, same but different

the Painted Veil (2006) - dir. John Curran - 3.5 stars

The Thai have a saying for things that are essentially the same but somewhat different in some aspect. As I was walking along the aisles toward the exit after the film credits rolled, I couldn't help but be reminded of this phrase that so perfectly describes Curran's latest. The Painted Veil is the love story that is same, same but different.

What makes it essentially different are the surroundings in which this love flourishes and the levels of character growth that's usually missing from such romantic dramas. A remote Chinese village beset by cholera is not the most enviable setting where love can easily flourish, but this situation actually pushes the characters into coming to terms with their own core personalities, which in turn encourages mutual respect and love between a married couple who hasn't felt much of either for each other until then. Having said that, the character development goes beyond allowing love and respect but actually changes the characters forever personally, not just in relation to each other, and so has a deeper impact for the end of the film. I must say I'm very pleased with the depth of character development that Curran offers. It's a breath of fresh air for a romantic drama.

This eventual yet doomed love affair is portrayed in a very mature manner by the two brilliant actors, Naomi Watts and Edward Norton. Although I must say I am willing to fore go Watts' somewhat disappointing British accent, especially during the first half of the film (I guess she got better as the shoot continued or I just got used to her accent), just because of her beautiful and graceful depiction of her character. She truly is a great actress who can match Norton's proven range of characters any day.

The last thing I want to mention is the cinematography. This film is simply beautiful and graceful in its imagery. The effective use of wide screen aspect ratios bring out the beauty of the Chinese countryside while Curran's close-ups delve deep into the eyes -and thoughts- of Kitty and Walter. All in all, the Painted Veil is a film that's worthwhile to watch because it delivers its story extremely well.

Grisebach's Latest is Overrated

Sehnsucht (2006) - dir. Valeska Grisebach - 2.5 stars

The only reason I went to see Sehnsucht (English title Longing) is because the British Film Institute went a long way to describe how unexpectedly good Grisebach's film was. Having a membership to the BFI, it didn't take me too long to buy into it. However, the film is slow and the script too predictable.

Given the film's shortcomings, the acting is top notch. The psyche of each character is revealed perfectly through the subtle and silent depictions of each of the main actors. The actors actually manage to create a perfect sense of disillusionment, so well done that the viewer completely believes that these characters are real and regular. Perhaps, this ordinary feeling that dominates the acting is what makes it so successful.

I will definitely watch out for Grisebach's next release, even though I didn't like Sehnsucht as much as the BFI did. I still see the glimmer of a potentially great director in her and I'll be waiting for her greatest film yet. This can't be it.

It's time for a new short film

I was watching the short film that my friend and I made almost two years ago (the Facade - May 2005) as my senior year cinema project, when a great idea for a film struck me! I immediately wrote my ideas in my new Moleskin notebook (gotta have one!) and as a consequence of getting too excited couldn't even sleep.

I've been waiting to make a new film for the longest time now. It has been one of those itches that I mean to scratch but never get to because of work. This time, the idea hit me so naturally that I have the whole film rolling inside my head already. I've started writing the preliminary script, and then with the help of a friend, I want to finish the storyboard stage by mid-September. I'll try and shoot the film in as few days as possible since I have to rent the equipment this time. We're not in college anymore! No free digital cameras, lighting, editing machines... ahh, I miss it already.

If anyone's interested in helping in any way or collaborating, let me know!