The best that cinema has had to offer since 2000 as picked by 177 film critics from around the world.…
Once Upon a Time in Anatolia
A group of men set out in search of a dead body in the Anatolian steppes.
There is a scene in this film, a background scene, that completely encapsulated the film for me.
It is a scene of two shopkeepers judiciously sweeping the bits of sidewalk and road immediately in front of their place of business. In between the two sweepers lies a huge mound of sand.
No matter how many times they sweep, within minutes any trace of their work will have disappeared.
It will have made no difference.
They keep sweeping.
Nuri Bilge Ceylan takes a microscopic look at the mundane in the form of a crime. A murder has been committed. A man is dead. All those involved in the business of crime, from the criminal to the prosecutor to the police to…
This is my first meeting with a Nuri Bilge Ceylan film, and I was not disappointed. Once Upon a Time in Anatolia is a long, tiresome and difficult watch, and perhaps not for the restless, but it is a masterpiece, and the best of it's kind.
Through the night, three cars carry a small group of men around in the rural surroundings of the Anatolian town Keskin, in search of a buried body. The group involves police officers, a doctor, a prosecutor, two grave diggers, army forces, and two brothers, both homicide suspects. The darkness and the seemingly visual indistinctness of the barren landscape do not help, each spot looks the same.
It's an uncompromising film, seemingly possessed by some…
This movie is slow. It's dark. It's foreign. And it's 157 minutes long. But don't run away just yet. Because there's a lot to appreciate here. Starting of course with its deliberate and contemplative slow pacing that fits like a glove for the type of film this is and the type of mood it tries to convey. The film takes place during a night and day and it follows a group of men in search of a recently buried corpse. The group consists of police officers, gendarmerie forces, the two prime suspects, a doctor and a prosecutor. During this search we come to know these people and get a glimpse inside their lives, what are they like, what interests them,…
There is a magical sequence in Once Upon A Time In Anatolia that has a dream like quality and works like some fresh air in a movie filled with linguistic violence, skepticism, despair and hopelessness: in the middle of a dark night a young girl enters the room with a lamp and serves the guests with glasses of tea. The girl’s beauty, innocence and honest look is the only source of hope and faith in this movie, it is the sequence that I will never forget.
This is not an easy movie to watch, it is 150 minutes long and it has a quite slow pace, but the main thing that makes…
Suffer little children, and forbid them not, to come unto me: for of such is the kingdom of heaven. Matthew 19:14
The heart is deceitful above all things, and desperately wicked: who can know it? Jeremiah 17:9
These two Bible quotations, in my humble opinion, encapsulate the entire statement of Ceylan's new thought-provoking and mysterious crime story, Once Upon a Time in Anatolia. Leaving the crime plot elements aside, which are just the engine of the story, the answers are left intentionally unclear, but the messages are not.
First, appearances are deceiving, and the heart is an intrinsically evil mystery, even to ourselves. Our scope of things is incredibly limited, and in our attempts to rationalize events around us, past…
Not a traditional crime story by any stretch, but this kind of slow-art-film-meets-procedural has its own set of traditions (just one other example in this subgenre would be Police, Adjective). This is a beautifully shot and composed film, though, and it does manage to throw in more than its share of real surprises. There's a sequence involving the elusive corpse that drives the plot that slowly evolves into particularly black comedy, and an autopsy-room-climax that comes as close as you can to Grand Guignol with sound effects and a couple drops of blood.
I'm making this sound like a much simpler movie than it actually is, though - I almost want to watch it again as soon as possible just to untangle all of its mysteries. It's a real masterpiece, definitely one of my favorites of the year so far.
You gotta relax. You can’t focus on yourself the whole time.
I say "you" when i really mean "me" but we already knew that and sometimes we say “we” when you really mean I.
compulsion ran onto the page; blood turned into ink; flowing onto filament. diaries are used tampons. soppy hills masked the man and a dog's in the king’s court. hair rises on end, the prosecution unkept, compassion is obligatory. arabs are fat. the tireless sun glares and the hills still burn. a flashing image, a mound of bones, all bleach white. in a hundred years all these lands will be covered by an ocean. the crimson sea bears on its back all the labors and beneath, the origin of the oculus.
pft. this movie never happened. fucking self pitying, woe is me, self agrandizing, all eyes on me fuckers... they prolly deserved it.
I'd love to watch this movie on the big screen. Noir and mystery, but done in a way I've never seen. Such a beautiful puzzle.
Like if Beckett wrote a crime play and someone with an incredibly deep aesthetic and emotional vocabulary directed it.
writing and dialogue was on point. still left more questions than answers. which was probably the point of the film.
holy shit. did that really just happen? i couldn't look away. didn't know why. ran it again and holy shit. you made me love you. hey, did you get that thing i sent you?
Well directed and beautifully shot. This was pure joy to watch from the very first frame.
Crisp as fuck 35mm.
A much more successful, thematically layered take on what Charlie Kaufman tries to do (Synecdoche and Anomolisa at least). If we can compartmentalize death, taking different aspects of its fallout and generating professions forced to contend with them, we can avoid thinking about it. Of course, the two men who have to bear the biggest burden of the knowledge of mortality - the doctor and the murderer - are the most broken, with the doctor acting as a counterpoint to the prosecutor (the movie's "man of faith" for in our postmodern times all we really have to comfort us in the face of death is the legal system, theoretically) whose blithe commitment to believing in magic…
With Chris and 5th Crew. 35mm preview. The apple shot was the most inspired bit of celluloid I've seen in a very long time (that alone was more viscerally thrilling than all the summer blockbusters I've seen this year and more emotionally exhilarating than CITIZEN KANE x VERTIGO).
with dan, mitchell, christof and sean. 35mm at 5th ave woke up feelin' way better than it did than did befoe.
as dan eloquently phrased it everyone here is just bumbling through, bumbling through in the dark. "what should i say here?" feeling like time and time again other people's destinies are determined by the inept, just because.
Ok, here's how voting is going to work:
Each ballot will consist of ten films, ranked. The first film will…
List from a panel of critics selected by BBC. Published in August 2016