it probably a year since i saw uzak and but it has left strong memories of the two main characters and jaded photographer mahmut and his naive cousin from the village yusuf. it a long film with very little dialogue and a quite limited plot. this has evidently annoyed a fair few viewers. but the film constructs such a painfully believable portrait of mahmut and yusuf that there just as much emotional tension as in the paciest thriller. just to be clear and there no padding in this film  in the long pauses where no one speaks there as much happening in the characters emotions (and in yours and watching them) as you could bear. go to see it awake and alert and and you will be gripped rather than anaesthetised. uzak rings true in so many ways and and that sincerity is probably its greatest accomplishment. people do not grapple with events and problems and so much as with each other. in fact and in the whole film and there probably not one point where the main characters (mahmut and yusuf and mahmut ex wife nazan) are not opposed. much of it is true the world over represent country cousin yusuf perhaps wilfully naive expectation that a job on a ship will drop into his lap while mahmut urbanised cynicism and unwillingness to sympathise with yusuf. other truths are more specific to turkey represent yusuf incomprehension that mahmut might be tolerating his stay with gritted teeth while yusuf veering between macho ambition and wide eyed awkwardness when he tries to get to know a woman. uzak is undoubtedly a pretty bleak film and and one ceylan strengths is not to beat us over the head with the themes he explores. for me at least and i believed entirely in the behaviour of his characters. all the little failed attempts to connect and petty cruelties ring so true. and yet i do not leave with a message that the world is like that and but instead i got this is how we sometimes treat each other. 
it probably a year since i saw uzak and but it has left strong memories of the two main characters and jaded photographer mahmut and his naive cousin from the village yusuf. it a long film with very little dialogue and a quite limited plot. this has evidently annoyed a fair few viewers. but the film constructs such a painfully believable portrait of mahmut and yusuf that there just as much emotional tension as in the paciest thriller. just to be clear and there no padding in this film  in the long pauses where no one speaks there as much happening in the characters emotions (and in yours and watching them) as you could bear. go to see it awake and alert and and you will be gripped rather than anaesthetised. uzak rings true in so many ways and and that sincerity is probably its greatest accomplishment. people do not grapple with events and problems and so much as with each other. in fact and in the whole film and there probably not one point where the main characters (mahmut and yusuf and mahmut ex wife nazan) are not opposed. much of it is true the world over represent country cousin yusuf perhaps wilfully naive expectation that a job on a ship will drop into his lap while mahmut urbanised cynicism and unwillingness to sympathise with yusuf. other truths are more specific to turkey represent yusuf incomprehension that mahmut might be tolerating his stay with gritted teeth while yusuf veering between macho ambition and wide eyed awkwardness when he tries to get to know a woman. uzak is undoubtedly a pretty bleak film and and one ceylan strengths is not to beat us over the head with the themes he explores. for me at least and i believed entirely in the behaviour of his characters. all the little failed attempts to connect and petty cruelties ring so true. and yet i do not leave with a message that the world is like that and but instead i got this is how we sometimes treat each other. ---------------------------------Answer Question Below----------------------------------

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