The story of "Ahlat Ağacı" progressed very slowly. Surprisingly, the three-hour film length did not really fly by. The audience’s viewing experience was like being trapped in an extremely large novel. Philosophy, religion, politics, and moral problems are intertwined. Fortunately, the final ending of the film is worth a long wait. Director Nuri Bilge Ceylan gave up the beautiful interference and unfolded the story in a more realistic way, finally integrating all the main lines of the story together. The final scene of the film resolves the conflict between the old and the new generation in two ways. For better or worse, the audience can choose which ending is real and which is a dream. Although a lot of poetry is missing, it does not mean that these fragments are unobtrusive, just like the towering white mountains, reminiscent of Abbas Kiarostami.
The Wild Pear Tree evaluation action
2022-01-16 08:01
Extended Reading
-
Paris 2022-03-30 09:01:09
The pain of mediocrity is almost over. If it takes the form of accusing and complaining, then the role of "Ceylon" is unlikely to be so flawed, and sometimes even disgusting; if it only focuses on "self", then the whole village will not show "resistance" shared traces of the past”. These two easily dismissed assumptions make the Ceylon behind the camera full of wisdom and conquest, not even mediocre. The sweetness from the father at the end only intensified the incomprehension and powerlessness, because the last concrete object worthy of confrontation also completely collapsed with the reconciliation-the only remaining energy can only be thrown into the well leading to the center of the earth. The last star is not full because there are too many dialogue scenes in which words are superior to audio-visual, but in the face of these personnel matters, I can't think of a better solution. Those moments of ambiguity and inner and outer inspiration are not even necessary, but more like Ceylon, when he succumbed to his untransformable desire for expression, from time to time trying to prove to everyone that he can make movies.
-
Davonte 2022-03-29 09:01:07
There are a lot of dialogues that distract the audience, but when the theme of the film is stripped away by the dense dialogue, there is a possibility that a group of unknown characters randomly interpret life in the space and time of the film. Words are revealed. Young people of every era are determined to resist vulgarity, and eventually become attached to vulgarity. The film is nothing more than a retrospective of this "should have done". The constantly changing world outlook of the returning youth has contributed to the completion of the story, but in the face of the historical context of fatalism, it is an inevitable result that the son repeats his father's experience. The restless, let him grow; the future, let it happen. ★★★★
-
Sinan Karasu: Abuse, sins, crimes. Are you calling them fate now? Disappointments are fate's fault. Successes are our own doing.
-
Sinan Karasu: But no one should consider themselves pure as the driven snow. He may have lost a lot on the horses. His house, car, honour, pride, respectability. But aren't your salaries paid with the ill-gotten gains of horse races or the lottery?