Reviews

In order for the cinema to have an impact on the audience, there must first be a deep bond between the character in the movie and the audience. His essence, which goes through everyday issues, actually deals with a deep problem. This film slaps the face of hyper-modern people who see it as an obligation to take care of their families today. This inclusive commitment of deep respect and love, which is more than tradition, should stand as something that every person should adopt as a principle.

Throughout the film, we see the quality of this mutual affectionate bond between her father and her daughter. Since I went through the same situation with my father, I can empathize with Noriko. You can postpone your own spring for the comfort and peace of your loved one in this life. Because love is a mystical aspect of self-depletion. Sometimes I ask: "Who will look after my father after me? What will he do alone when he is so needy? It doesn't work out. Noriko can't go out anyway. She constantly tears away her uneasiness with tears. I don't think there's really any pressure in the movie. It's not because of the pressure of his aunt or anyone else. Her father is unaware of how contradictory his situation with his daughter, with whom he has been isolated until now, is against society. Later, when her friend offers her the idea of marriage, she begins to think about this situation. At one point in the movie, Ozu draws attention to Nietzsche's so-called Zarathustra book. I think this is shown as a reason why the professor is so alien to the rules of society. He was a socially isolated Zoroastrian. Rebellious. But he also has to give it up for the daughter he loves so much. She should be able to give birth to springs to her inner daughter. Must be able to renounce their own selfishness. In every dialogue in Noriko's apology to her father, the professor actually says the same to his daughter. That is, the harmony between them continues in the silent reciprocity in these dialogues. Her aunt symbolizes the outside, that is, the society. Yes, it can be seen as a pressure but not in the sense that we know it. Just a pressure to make you think about the situation you are in. Intellectual pressure. Or it's up to Noriko and her father whether to marry or not. His father doesn't put any pressure on him either. He doesn't even want to. But at the end of the day society will always prevail, and Zarathustra will again simply retreat to his own mountain. The last scene of the movie is the moment when empathy is experienced most intensely and catharsis occurs. Like Noriko's deep stare when she cries and is left alone...

Making such a magnificent film and simplicity feel emotionally intense is a rare and rare event in the history of cinema.

I think the bond between charley and pete has the same value as the bond of the lost mother image. Therefore, his reaction to the sale of the horse (which is the same as his mother's abandonment) and what he did afterwards were made to fill the void in his life he felt after his mother. Likewise, the horse also means freedom in mythology. On the other hand, he identifies himself with pete, eats fast like wild horses and lives alone, runs and enjoys it. At's injured leg and charley's attention to it actually shows how much the absence of his mother (Pete's injured leg) hurt him. She demands attention from everyone. In fact, charley wants to draw attention to his own silent suffering. Because he has no one left who can understand his loneliness and silence. He has lost everything.

It is an important work of Bergman in which he deals with concepts such as pride and honor gracefully and with aesthetic sequences. The way he deals with buffoons here is to show that even the lowest level of man can have honor and pride.

Albert is tired of the contempt brought by the buffoon and longs for a dignified life. This first starts with the actors humiliating him and gradually increases with his lover cheating on him with the theater actors. In this case, he goes to his ex-wife and proposes to her because he can no longer bear to be humiliated and have his dignity destroyed. However, when his ex-wife rejects him, he returns to his meaninglessness in "meaningless dark shadows".

In this return, it lacks the meaning to fill the void left by the humiliation. And filled with schelerian resentment against theatergoers (upper class). Because the thing that will make a person full of resentment, whether he is in the lower class or the upper class, is the damage to his honor. And this resentment grows more and more as he deigns to be taken away from his lover. And duel happens, but his own strength is weak compared to the strength of the upper strata. Because he is inferior and always destined to be humiliated and ridiculed.

Bergman; while emphasizing the indispensability of the human values of the lower strata, it does not refrain from drawing a sharp line between itself and the upper strata. Because in art (and in everything) there is gradation and hierarchy. This cannot be avoided.

Albert can no longer fight the feeling of emptiness and meaninglessness that emerges at the end of the duel and wants to commit suicide. But in a way it still depends on life. After his first suicide attempt, he gets out of the car and says things that life is good. Bergman asks us, "What about those who want to kill themselves but can't?" Can one continue to live without dignity?

And in the scene where he shoots the mirror (persona), one of the most magnificent scenes of the movie, we see him wanting to kill his own mask, therefore his ridiculous self. It also kills. Here we see the character accepting the meaninglessness and the shadow of death. Now he can continue his life resigned to his fate. But with a dead self. With nothing left of his honor and pride, with brokenness and experiences...

The film stands out with the shooting techniques and acting. It has everything to expect from a classic Bergman movie.

The character of janos is actually a prophet of the society that has been dragged into nihilism. Despite all the dullness and grayness, despite the evil, he dares to walk the streets alone. Mad, but a prophetic madman.

In the first scene of the movie, along with the universe sequence, it tells the creation of a harmonious universe of god, and of course, he is expelled by the individual of the collapsed society. Then it is shown how religions are abused. A prince is promised to the society as a false prophet (dolphin). Society, which is afraid of nihilism (we see this fear in people's anxiety. People who are afraid of going out are waiting for a miracle) depend all their hope on this prince before it collapses. To the false prophet. There is criticism of religions that have been turned into money and turned into commodities. Then janos goes to the whale and we watch an amazing sequence: the real prophet meeting the real savior. There is tremendous weariness and exhaustion in the eyes of this rescue whale, a victim of falsehood and commodity. They come face to face with janos. And starts praising the whale to the man outside. He asks them to see not the prince, but the whale, which represents hope as a savior mercy.

The society, unable to see the prince, eventually spirals out of control and into absolute chaos. What he feared has come true: all values begin to collapse. Disorder reigns in the streets, and with the disappearance of values, hope is gone. But tarr draws a line here. This is a passive hope that the director gives us. In the scene where they raid the hospital and beat all the patients, we see that they do not touch the old man. What tarr wants to say here is simply this: no matter how decadent a society may be, even if there are no religions, there is a conscience inside every human being that tells him where to stand. So it leaves us a hope tarr here.

Janos also represents the values of society. The cause of social disintegration here is the stubborn ignorance and disregard of values, as well as our insistence on making false idols for ourselves. We do not see janos (the values that hold society together) in front of our eyes, but we try to acquire new idols for ourselves. Just as societies are currently drifting inevitably towards nihilism. They are not satisfied with what they have and want more. This will lead us to nihilism, as will will eventually become unsatisfied desires.

Eszter represents art. It shows what art can do and its limits in such societies. He falls into the role of a 'must have' priest and is discredited. It tells what needs to be done but does nothing to change it. Tarr also makes a critique of art here. But we understand from Eszter's gaze with the whale in the last scene of the movie that art has also fallen into such a state that this is due to the blindness of the society that cannot see Janos, not the negativity and inaction of art. In other words, the crime was not in art, but in society's unwillingness to see the truth. This is essential in any society going through dissolution.

As for the cinematographic aspect of the film: each scene and its surroundings are well placed and perfectly posed, as if representing the hopelessness and hope that people fall into. The rotation of the camera along with the rotation of the stars and planets in the first scene of the movie is also seen in the following scenes. The purpose of leading the plan sequences as a shooting technique is to preserve the integrity of the scene and to minimize the loss of meaning in the space created by the transitions. And it has succeeded. Because harmony requires an uninterrupted melody. The things that make up the harmony in the movie are the simple sounds that occur in the shots when the characters are walking alone. That's why it's necessary to watch every scene without getting bored. The whole movie is about what Werckmeister's well-tuned harmony should look like. Society must be well tuned.

Everything serves a few ideas as if no scene was wasted in the movie.

At the beginning of the movie, we see how badii is traveling in Iran, which is about to become concrete, and how it starts to turn dull and gray inside. In the sequences, we see that the character and the place move in parallel. Even your characters. In every transient character, there is a compatibility that emerges with the corruption of the place.

While passing by the workers, a wheel of the car falls into a place similar to the place where it will be buried. But they remove it. His longing for naturalness indicates a momentary glimmer of hope and surprises. Short term though.

As the backhoe dumps the soil into a cauldron, the bodybuilder bends and looks. Then he begins to think of death in the dust and soil. This is one of the places where we feel that the thought of death and death are closest in the movie. That's why this scene is so sad.

After her conversation with Bagheri, something changes inside her. Corresponds to a married couple. He has found hope, just like quail. She runs to Bagheri to keep her in the cage. There is one thing to be careful about here: bagheri kills quails for his job. I don't think he can say what he really wants to say after seeing this. But he wants to be checked whether he is dead or not. He actually doesn't want to die. He only has the problem of not being able to catch the hope in his heart, he can't stand the absolute loneliness inside his head. A pain completely isolated from the world, that desolate, slow death that will never be known and felt...

badii is actually looking for people who will dig up his hope, not someone to throw dirt on him.

Although kiarostami left it to the viewer's worldview at the end of the movie, it is clear that Badii is dead. He just wanted to convey as much a message as hope can always be. It rains, the sound of dogs and children comes from behind. Hope continues...the taste of cherries is everywhere.

It is a film about the fate and fate of the horse that drove Nietzsche mad and fell into bed (which symbolizes the Europe that drags him into nihilism and the destruction of values).

With the phrase "ich bin dumm" in the prologue at the beginning of the movie, we understand that: because this nihilism, which nietzsche contributed with his writings, is now inevitable, and later on, because nietzsche backed out of this decision and told us to transcend nihilism, he clings to the horse (values) and loses his mind there. . That's why he says "I'm stupid" because he dragged Europe into nihilism. Because in his later writings he sees nihilism as something to be overcome, but it is too late, he realizes that it is insurmountable.

The monotonous life of the horse; it disappears in a life that is emotionless, colourless, tasteless and unpretentious. The fear is over now. All possibilities of life have been eliminated, what remains of nihilism is life without taste and salt.

The driver never uses that arm in the movie as if the arm he hit the horse with has lost its function. As if a regret for losing values, the impossibility of longing for the past were emphasized.

The man who comes in the middle of the movie and says that there is change and that nihilism has been overcome, is seen as "nonsense" in the ear of the nihilism that whips the horse and is kicked out. And in the house, colorless and tasteless life is continued. Because nihilism is something that destroys everything and withers the soul.

The winds of change are blowing outside and nihilism wants to spread itself elsewhere, when there is no water left in the dark wells that are its own food. But the wind, the wind of change, does not allow it. They come home again. Everything is getting dark and everything is changing. Europe has survived nihilism, but towards what? Hypermodernism. Absolute commitment to life. Our characters stop eating because they represent nihilism. They will die on their own.

On the other hand, from the point of view of nihilism, what the characters do in this meaningless world is completely correct and should be. Grass life. To continue like this until death, adding a meaning to meaninglessness and not allowing this meaning to turn into hope. Looking at the wind that changes everything outside and not dreaming. Clinging to religion but not understanding it.

It was a good movie in every way. There is no wasted scene. In the long sequences after each scene, tarr invites you to think. The scene and its meaning.

Horse = values.

Driver = people nietzsche = madman who regrets being dragged into nihilism.

We see how a man who is about to lose his human values is exposed to his animal impulses in this losing process. When those unique values that make man human are lost, only the animal lust of the id remains.

A man who is far from everything witnesses the loss of everything he touches. He lost his first lover as a result of an accident. The first loss of values starts here.

Then he ruins Les Gault's life.

Then she ruins the life of the man who is on trial in court. And finally, he goes to live today's post-modern man, having lost all his values. Lost, distant, irresponsible, worthless, bestial...we.

It was a movie about returning to her past passion and what she found safe and identified with in post-traumatic stress disorder. The character named birdy returns to a halo of freedom (like birds) after the ravages of war. But this freedom is a caged and limited freedom. However, Birdy tried to show that freedom is not necessarily being able to go anywhere freely, but that you are where you are with a state of mind.

When they first bought a car, they felt the freedom there, even if they could not travel by car. Because freedom isn't about what you can do, it's about not doing what you don't want to do. Birdy fits this description no doubt.

It was a dystopian movie in which concepts such as suicide, death, life, war, friendship, friendship and family were questioned.

We see how it is possible even to commit suicide when it fits the mass psychology. Even the most terrifying action that becomes everyone falls within the possible action and compromises its horror. I wonder if it was not necessary, but would the same results have been achieved? That is, if the suicide of the masses were accepted as normal, would we have any reason not to commit suicide?

The movie shows us how suicide can be normalized, but sprinkled with shreds of hope... well, horror continues to play a role here. As long as there is hope, there is fear. As you watch the movie, you start to get scared towards the last scenes. Because ''there is still ti.