ozgencsutlu

Many questions remain unanswered... Who was Michael's father and even the father of Suzanne's other children? When and how did Suzanne get the freedom to have children with other men (if she wasn't employed as a sex worker)?

Also, those who spoke about the case, who are said to be relatives of Suzanne, lie and declare that they are people who have done everything for Suzanne. It's obvious that everyone has their own troubles and that Suzanne is sometimes just seen as a troublemaker (as in the case of offering $50 for sex at the party).

We realized once again how individual life-oriented people really are in the United States, and that the weakness of relationships and ties due to the absence of an extended family culture makes it possible for missing people and murders to be kept secret for years before they come to light so easily.

Briefly, this country knows too well how to nurture serial killers, psychopaths and sociopaths (even if it wasn't the one who voluntarily created them), unfortunately...

Can we title the movie like "The adventure of a young woman -who did not receive attention from her father- with men"?

We understood the ambivalent mood of the main character and her inability to settle into life. However, that story did not have to be conveyed in such a long and tedious way.

She is not the worst person in the world, but she's certainly not the best!

Priorities, personal rights and the rights of the creature you brought into the world... As an academic who may be a soon-to-be mother, I was personally offended.

What's really disturbing about the movie isn't the lack of a happy ending; a person's individuality, even if it would traumatize a child.

A woman cannot be framed by the role of a mother, but once the role of motherhood is among a woman's roles, nothing can become more important than traumatizing that child.

Slow progress, meaningless glances, unnecessary excitement and multiple women destroyed inside... It wasn't a waste of time, but nothing more.

Sadly, the format "every episode has another adventure" has not overcome the boredom. The effort to be funny with memorized jokes and rhetoric games is no longer requested.

In Korea of the period, it was interesting in terms of making Japanese wannabe (indirectly British wannabe) and sexual activities at the level of perversion visible under the influence of the Japanese occupation. It was a long but satisfying movie with lots of twists.

The director has done such a great job that many scenes are photographic and the editing is quite good.

It should be noted that less sex &periodic and technical mistake; more emotion and tension would be more appropriate in my opinion.

It was a movie that included the dynamics of the period, criticizes the church and the system, and put a rising nun at the center by using exactly this criticized mechanism. However, seeing the balances change frequently in the film is tiring for the audience. Throughout the movie, everyone moves from one thought to the opposite, and this cycle repeats.

After all, the fact that the movie is based on a controversial historical personality and that erotic/dramatic elements are emphasized contradicted my motivation when I started watching the movie. However, I think it is still an impressive production in terms of presenting the transformation of the female image and sexuality in history.

It was enjoyable to watch the transformation of our character (Behzad) in this movie, in which life and death were conveyed to the audience in a thought-provoking yet peaceful way, accompanied by adventures with the people of a beautiful village.

The relationship and naturalness of the little innocent boy who has become the guide of the village with Behzad, is heartwarming.

Those interested in the Iranian New Wave and symbolic/poetic cinematography; "Let the wind carry you!"

The love and devotion that two traumatized people have for each other is truly conveyed. For Moll, who is one of these two people who are separated from the society in terms of their wounds, it is getting harder to accept a beast (Pascal). So, the story continues based on this acceptance/rejection dilemma.

It took longer than it should have and had less tension than expected.

The transition between the times and the fictional characters, of course, became a brain-burning one. Although the really good dialogues made the movie watchable in a way, I was tired of its length and inability to provide a holistic view.

I think it can be considered a blessing for the masses who are fans of the movies which are Mulholland Drive, Predestination and Eternal Sunshine of the Spotless Mind etc... But not exactly for me.

How objective can a movie be that says it simultaneously narrates the events of a plane in which everyone was dead?

Since it is a known fact that movies are phenomena that re-edit real events in people's minds; Even turning a historical event into something so mediocre should be a reason for criticism, but it is really annoying to see that this movie is praised with American propaganda.

After a really good start, I thought we were going to watch the spontaneous murders of a traumatized child Alexia. Yes, of course that would be boring as well. But this?

I watched the movie with many problematic elements, such as the murder scenes shot without condescension to get information from experts in the field, a universe where law enforcement and the justice mechanism do not work, and the position in the story of the biological father and/or Rayane, whose relationship with Alexia remained mysterious throughout the movie.

Certainly, no matter how many aphorisms are made, no matter how many analyzes I read, this movie was not satisfying, it cannot be. This fact really upset me as it wasn't worth the time and effort I spent waiting for it. Sorry.

It was a movie that conveyed a lot without promising too much. Undine is a heartbroken woman and someone who truly believed that it was impossible to love again. Even with this beginning, I am aware that it smells cliché. However, with small nuances, loving and being loved throughout the movie is conveyed in a way that is blended with some historical and mythological elements, in a way that permeates the audience.

While revealing many troubles caused by poverty and inequality of opportunity, that film also conveyed to the audience that it is inevitable to find the solution in some supernatural elements and even in mythical phenomena.

While it is known how difficult it was to address these issues in the 80s, it is impossible not to appreciate this film.

When the economic backwardness and political exclusion in eastern and the burden of being convicted combined with other social realities of Turkey (morals, tradition patterns, etc.), a completely real movie emerged. It still maintains its currency and didactic quality today...

It seems like it has fallen into repetition and the audience has changed.

Even by himself, it is humorously said that Cem Yilmaz has a tendency to fall after CM101MMXI Fundamentals (2013). Although Cem Yilmaz's way of creating the joke has not changed, interestingly, the audience he addressed seems to have come from the lower/middle-income to the upper-income. This gives the impression that he is making the same jokes for a new audience, not the audience he used to make.

When we look at it as a whole, the common elements that make Turkish society laugh are still a part of his standup. However there is something missing as everyone has stated. I think it's about Cem Yilmaz starting to do things that are in the shadow of his past success. In short, we are not satisfied because we have seen better.

Some chapters are created so forcefully that it feels like they would be better if they weren't added at all. However, the events that seem to take place in a utopian/dystopic universe in many episodes and the reactions of our main characters have the power to make the audience laugh.

In this film, which proceeds quite calmly, the representation of the political is poured into the narrative without any action. The remarkable thing in the story of two Kurdish women who are workers is that although they seem to be able to contact high-income and "non-Kurdish" women, the wall that always stands between them and "other" women somehow hits them in the face.

"It is not always possible to touch a person's life. Most of the time the person is alone despite everything."

But I don't know if this is because of the discomfort of the utopian universe or the numbness of the actors; Even seeing the message and the result was very tiring for me.

It has nothing to do with other psychological thrillers. While watching the story of a woman who got revenge, the police officers working in prehistoric methods bothered me too much. If you say it's not a problem for a dark humor, it can be watched.

The director presented an innocent child who is not listened to and understood by adults, accompanied by an adventure that warms our hearts.

In every minute of the movie, you wish our main character, the boy, to deliver his friends' notebook to his friend and return home before it gets dark. It is getting dark and the notebook does not reach its place, but the child finds another way...

It's literally the movie of innocence. One of Kiarostami's best!

I started this series by finding it worth watching because it refers to the "Wealth Tax" and "September 6-7 events", which are a bad stain in the history of the Republic of Turkey and perhaps have not found a place in any movie or TV series until this. However, there were more cheap and predictable love stories and the miraculous changes and transformations of the bad-grounded characters instead...

In a some part of this episode, the fact that there were no billionaires in China before 1978 and that there were no poor people in China after that date were presented as two interrelated elements. We need billionaires because their wealth makes us less poor?? Trying to make the audience say "hmm, that might be true" with a bad capitalist interpretation...