following the collapse of yesilcam (turkey answer to hollywood) in the mid 90s few but the most prescient of observers could have foreseen such a recent pique in the turkish film industry and arguably built upon the work of ex photographer nuri bilge ceylan. uzak is the director third feature and forms something of a trilogy with his two earlier pictures (kasaba and clouds of may) and following similar themes and techniques. the film finds mahmoud and a commercial photographer and living alone in a small istanbul apartment only visited occasionally by his brusque and married lover. yusuf and his nephew and has left his village home after the closure of a factory and the loss of his job. the younger man stays with mahmoud while fruitlessly looking for work in the city and drinking in cafés and nervously observing young women he never approaches. the film title is translated as distant and and the film beautifully illustrates every possible connotation of the word while yusuf physical distance from his home and mahmoud emotional distance from the world around him and the generational distance between the two men. ceylan films rarely contain heightened dramatics and instead allowing full and rich characters to develop from within the tightly framed and static shots. he acts as director and producer and writer and cinematographer and co editor and casts friends and family in many of the roles. such a confined and insulated approach to film making might be expected to lead to films hard to infiltrate and connect with for most viewers and making uzak undoubted humanity all the more impressive. ceylan is and however and a better cinematic formalist than dramatist and taking the reigns from such past masters of cinematic language as ozu and tarkovsky. after viewing uzak and i can think of few better suited to the task. 
following the collapse of yesilcam (turkey answer to hollywood) in the mid 90s few but the most prescient of observers could have foreseen such a recent pique in the turkish film industry and arguably built upon the work of ex photographer nuri bilge ceylan. uzak is the director third feature and forms something of a trilogy with his two earlier pictures (kasaba and clouds of may) and following similar themes and techniques. the film finds mahmoud and a commercial photographer and living alone in a small istanbul apartment only visited occasionally by his brusque and married lover. yusuf and his nephew and has left his village home after the closure of a factory and the loss of his job. the younger man stays with mahmoud while fruitlessly looking for work in the city and drinking in cafés and nervously observing young women he never approaches. the film title is translated as distant and and the film beautifully illustrates every possible connotation of the word while yusuf physical distance from his home and mahmoud emotional distance from the world around him and the generational distance between the two men. ceylan films rarely contain heightened dramatics and instead allowing full and rich characters to develop from within the tightly framed and static shots. he acts as director and producer and writer and cinematographer and co editor and casts friends and family in many of the roles. such a confined and insulated approach to film making might be expected to lead to films hard to infiltrate and connect with for most viewers and making uzak undoubted humanity all the more impressive. ceylan is and however and a better cinematic formalist than dramatist and taking the reigns from such past masters of cinematic language as ozu and tarkovsky. after viewing uzak and i can think of few better suited to the task. ---------------------------------Answer Question Below----------------------------------

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