Brilliant Reha Erdem Kosmos is strange in a way that few movies beyond experimental cinema manage never to be. Story of a visitor to a solitary Island Turkish city and how people react to it, is not simply that it is one of those films where nothing is meaning lots of logic or addresses themes very easy without a shred of irony. First and foremost it never seems particularly interested in itself, explaining never throw the audience more than a superficial bone to help them understand what was going on.
Amazing cinematography makes evident soon enough the more Erdem film as art empty gestures and there are enough moments of wonder dashed for the duration to keep reinforce this idea, but Viewer patient the most will probably ask at some point if it is worth the session by the thing.
Do still persevere until the stretch of the House, and Kosmos you have set. History of threads are suddenly, elegantly liquidated. Tone grows ever more dark and it closes on a quietly devastating note pathos which - while it fails each question - shows what erdem knew precisely what he was always.
Kosmos (Sermet Yesil) does not appear to have planned to stop, at least to start with. He introduced across the desert in the snow, cries himself and simply stops near the river running beyond the outskirts of the city trying to hide something in the rocks. Then he is distracted by a cry. A young boy fell into the River. When Kosmos drags him out Neptun her older sister (Turku Turan) assumes he brought his brother back to life.
People do not know what to do with Kosmos. It acts as a forgetful child constantly distracted by something no one can see, but it comes out with aphorisms as a scholar. If yes or not he revived the boy seems to be able to see right in the heart of the popular problems, orientation difficulty without any thought of reward, and curing the disease. Everyone thinks Kosmos must be a kind of Wizard and left largely to its own devices. But it turns out not everyone appreciated his help with some violently rejecting suggestions.
Conversations play in solemn, theatrical cadences. It is responsible for an obvious deep meaning. We see some characters do relatively mundane things (manual work or taking in the trash), unlike some productions of art, but it just never rest point of the plot or the underlying theme. Nothing is ever laid down in black and white. People keep their borders closely, arguing with a view to closer relations with nearby - if discover us never formally distinguishes the two beyond the general idea, they are simply different.
In addition to this there is the impression General Kosmos itself is not very friendly, or at least similar. It is therefore removed the show-business concerns to seem almost exotic totally indifferent to the damage that might be causing and terrified at the thought that he did anything wrong. He seems unable to interact with people in a normal manner, taking what he must react on an almost animal instinct. For most of his scenes with Neptun, they communicate even in silent, the Cree.
Ridiculous that probably sounds, it is these scenes that anchor the film. Kosmos is much more than a simple figure the Messiah, and it is Neptun, which is the first to really see it. In his childish mannerisms he y something fundamentally decent but inhuman, exceptional and not a little frightening, and she meets him honestly that she knows how. Couple sharing a kind love scene later in the movie - there is no nudity, no talk about sex, but they are clearly express something much more than a platonic link. This is an amazing time, gross, NU and emotional; This is pure joy translated a few absolutely jaw-abandoned Visual and sound design, and part of the tragedy of history is the way that not everyone can connect with Kosmos on a similar level.
At the same time, Erdem seems to give Kosmos printing cannot force was here, i.e., that it does not understand fully what it is capable of. He sets the culmination in motion when one of its interventions emerge evil and you can draw a number of Parallels here - basic human face the truth insistence, people often answers how can explain their, and how these relate to the Turkish identity struggle. The effort required to puzzle history is sometimes frustrating and - naturally - many people won't. But the pieces are certainly there.
Kosmos is too dense, too blunt is a masterpiece of pure and simple. You get sense what erdem left his audience suspend a little too long and dresses up a little too much the story in what is essentially the smoke and mirrors, but attractive. It is not a film for everyone (a character works in a slaughterhouse and vegetarian or squeamish will want to stay far repeated blows of the dying animal). But it is still a parable sublime, bittersweet deeper and more intelligent countless best-known films covering the same ground, and for loans to work in the fallout is immense. Imperfect though it may be Kosmos is regarded as one of the best films of the year and comes hugely recommended.
(Kosmos was screened in the 24th Festival Leeds film).
No comments:
Post a Comment