23/11/2007
THE 44rd ANTALYA "GOLDEN ORANGE" TURKISH FILM FESTIVAL AND THE 30d EURASIA FILM FESTIVAL
Dimitris Haritos - Anti

Exemplary organization that defies comparisons ...
The 44th "Golden Orange" Turkish Film Festival and the 3rd Eurasia International Film Festival took place simultaneously in the beautiful city of Antalya from 19 to 28 October. With a brand new and well coordinated organizational mechanism this dual (national and international) cinema celebration was once again an enviable success. To this excellent image one should also add the existence of the Film Market, already in its second year of operation. The commercial results are not known at the time this article is being written. The available figures mention 500 guests (of the Market), 188 film companies from 48 countries on four continents.
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And the films:

By the far the best Turkish film this year was Semih Kaplanoglu' s Yumurta(Egg). A feat of abstract economy, which thus released all the inner wealth of its dramaturgical and lyrical power. A difficult exercise in austerity for its creator as regards every phpect of the film: The story,
the locations (chiefly the interiors), the disciplined portrayals which focus
all their intensity on "duels" between gazes, the supposedly insignificant
as regards its meaning and, at any rate, sparse dialogue and the flexibility
of the pace in its attempt to showcase the action.
On the occasion of his mother's funeral the introvert (and poet) Yusuf returns to the small town of his birth after many years and after having decided beforehand to return immediately to Istanbul where he lives. Ayla, the girl who helped his mother and a series of what appear initially to be trivial pretexts and obstacles postpone the return. Ayla seeks that which even she is not aware of while Yusuf senses the reason for the postponements and that is why he resists, trying to avoid that which he (fatally) wants. Kaplanoglu surprises the viewer as he leads the film, with the right timing, to its conclusion. It will be the envy of many European filmmakers. This outwardly low-key film possesses the vibrant temperament of both its heroes, which makes it a long lyrical poem en route to the rebirth of hope and optimism. An authentic exaEPle of Lurkish cinema.' The undeniably remarkable film.