Ahlat ağaci

V' 18

Ahlat ağaci

The Wild Pear Tree

Nuri Bilge Ceylan
TR/F/D/BG, 2018
Features, 188min, OmeU

© Viennale © Viennale

Ahlat ağaci

Nuri Bilge Ceylan
TR/F/D/BG, 2018
Features, 188min, OmeU

So
28
Okt
14:30
Gartenbaukino
Fr
02
Nov
21:00
Urania
Mit: 
Dogu Demirkol
Sinan Karasu
Murat Cemcir
Idris Karasu
Bennu Yildirimlar
Asuman Karasu
Hazar Ergüçlü
Hatice
Drehbuch: 
Akin Aksu
Ebru Ceylan
Nuri Bilge Ceylan
Ton: 
Andreas Mücke Niesytka
Thomas Robert
Thomas Gauder
Kamera: 
Gökhan Tiryaki
Schnitt: 
Nuri Bilge Ceylan
Ausstattung: 
Meral Aktan

Produktion: 
Zeyno Film, Memento Films Production, Detail Film
Weltvertrieb: 
Memento Films International
Format: 
DCP
Farbe

Nach Abschluss seines Studiums kehrt Sinan zu seinen Eltern in der Provinz zurück. Wohin man ihn demnächst als Lehrer-Referendar schicken wird, hängt von einer letzten Prüfung ab; eigentlich aber will Sinan Schriftsteller werden. Darüber, was und wie er schreiben sollte, sucht er das Gespräch mit einem namhaften Autor, einer alten Flamme, dem örtlichen Imam, einem möglichen Sponsor und dem eigenen Vater. Diese Konversationen sind inszeniert als atmosphärische „long takes“ mit Tschechow’scher Anmutung. Was als Saga eines seiner Herkunft entfremdeten Literaten-Rebellen beginnt, spitzt sich zu einem Vater-Sohn-Drama zu, bei dem der Jüngere seine Sicht auf den Älteren zu korrigieren lernt. (Barbara Schweizerhof)

 

Sinan, a young man recently graduated from a university in Çanakkale, jobless and with a passionate wish to publish a personal essay on everyday subjects seen from a philosophical perspective, is an admirer of Cioran and Nietzsche and he is going back to his hometown. His father, a respected school teacher – and also a gambler – is there, as well as his selfless mother, his scornful little sister, his grandparents, his old friends, and an ex-girlfriend who is just about to get married. The dramatic tension has to do with the unarticulated horror felt by the son in regards to repeating his father’s life, which is the starting point for a philosophical inquiry into the will to exist. Words have a clear weight in this film, which is not to say that Ceylan dismisses composition in each of his shots. The scene showing Sinan’s reunion with his beloved one is exemplary in formal terms – the camera movements, the framings, and the notable sense of rhythm throughout the scene. This director’s usual skill in terms of his use of ellipsis and mise en abyme – which usually introduce an oneiric dimension in the tale – are as present as ever. And, as in all of Ceylan’s films, his lucid pessimism about the world is averted by the beauty of nature. (Roger Koza)

Nuri Bilge Ceylan: SMALL TOWN (1997), CLOUDS OF MAY (2000), DISTANT (2002), CLIMATES (2005), THREE MONKEYS (2008), ONCE UPON A TIME IN ANATOLIA (2011), WINTER SLEEP (2014)