Demirkubuz has a specific style. Just like any cinephile can tell a Bergman film from one by Tarkovsky, Bresson from Almodovar, and so on, you can tell a Demirkubuz title from anything directed by anyone else, by his style. That is not to say he's always great, he does have his weaker features. (Such as casting his goddess-looking wife on one of his flicks to make up for the weak plot). The only thing that's always good about him is his excellent setting of pace, for which Nuri Bilge Ceylan needs his private lessons. All that said, this one was a typical Demirkubuz movie by all means. Just like Masumiyet, which is connected to this movie, it deals with fragile lives and shattered dreams. I imagine 99% of the readers would agree that's ace for the style he adopts.
Well, let me start with the few bad things about this movie. The language! Turkish people do swear a lot, Turkish people pursuing the lifestyles outlined in this movie swear even more, but use of heavy slang is still excessive in this movie. And believe me, I am an authority on that, because I've been known to let my let profane language slip my tongue myself. Just take it this way, a nun could find anyone slutty. But if a street hooker finds someone slutty, chances are she has a point! Speaking of street hookers; a Turkish woman from any walk of life, including street hookers, would never ever use the phrase "sikildigimle kaldim" in any conversation, even when talking to other women. It just doesn't sound natural, and the whole conversation between Ugur's mother and Bekir on his visit was simply out of key. For the excessive swearing, although I didn't like it much, I can see through the frames and picture Demirkubuz going on fire and saying "right on!" and hitting his fist on the table ferociously. This shows he really got into the script, and I find such a directing skill amazing, considering the horrid actor he is. Now, that really sums it up for all the downs of this movie.
As for the ups, the story is interesting, the scenes are well-shot, the acting is splendid, and the dose of bleakness is just right. At times it feels like an Angelopoulos or even Kaurismäki work, which by itself means it's relatively slow but ultimately captivating. The lack of an emphasized ending is supposed to ruin everything, but everything is set so well that it actually feels more rewarding. The long fight consequence scene was also really successful. Until the very last second, you can't tell who killed whom, but the camera is so good that you don't end up feeling like you're watching a soap opera. Something that I just thought of to finalize: Even the name selection is exploding of intelligence! The movie's name is "destiny", and the movie's message is "nothing is destiny, you make your own destiny". I just love that! Overall Kader is a fantabulous (fantastic+fabulous) feature, and gets 9,5/10 from me. Seeing such a robust effort in the Turkish cinema in the era where people like Altioklar with their plot less Hollywood style trash are considered directors, is very promising.
If you are interested in Turkish cinema, and you are one of those who think a movie must be either fun or rewarding, but prefer one that is both, stay away from boring Tarkovksy wannabes and über-miserable Tarantino wannabes, and follow Demirkubuz. Needless to say, Kader is a particularly good start at that.
