Du Qifeng said that the film took too much time to talk about too little things, but personally thinks that in terms of similar genres, the film has said too much: the stone statues in the rainy night, the falling apples, the oil lamps in the village... just like the film. The middle character said that in the future, you can tell the story of tonight to future generations, just like other ancient legends, starting with "a long, long time ago". Amplify unnecessary trivialities, give meaning, add twists and turns, and flash mysterious symbols... This is memory, or this is life. Every retelling of self-experience is fictitious, and language will become more and more distant from the truth. When relevant personnel are talking about family affairs or the circumstances of the case, the perpetrators are more accustomed to keeping outsiders silent, sometimes accidentally falling asleep, and seeing the deceased appearing in the candlelight in a daze.
Of course, the film should still be classified as realism. Behind the one-night corpse-hunting trip are the survival troubles of characters from all walks of life, family pressure, market grievances, personal affair between men and women, the outflow of young rural laborers, etc., etc., so that too much talk is directed to the ultimate poetry of the picture I can't figure it out: What do you want to tell us?
To put it simply, it is nothing more than: a long time ago, one night, we walked in a wasteland where every road was similar to each other...
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