Tagline: "A Grim Post-apocalyptic Tale for the Whole Family." Can Evrenol's (Baskin) Girl with No Mouth will be available this December. In the film, a young girl manages her life in a post-apocalyptic landscape, which is full of deformed children. Survival is difficult as more and more strange characters enter this war torn setting. Shot in Turkish, Girl with No Mouth will begin its North American debut in just a few days. Girl with No Mouth had a release in Turkey earlier this year. Now, this title is set for a wider release on home entertainment platforms, via Indiecan Entertainment. This title stars: Denishan Akbaba (The Magnificent Century), Elif Sevinç (Kizim), Özgür Civelek, Kaan Alpdayi and Sermet Yesil. And, a full length, U.S. trailer is below. Indiecan Entertainment will make this title available on December 8th. To show on DVD and Digital platforms, Girl with No Mouth looks to be an imaginative tale.
- 11/18/2020
- by noreply@blogger.com (Unknown)
- 28 Days Later Analysis
Indiecan Entertainment has unveiled an official US trailer for an indie post-apocalyptic adventure film titled Girl With No Mouth, following a group of children who suffer from deformities due to a toxic explosion. The film is made by Turkish filmmaker Can Evrenol, who broke out in the genre world with his horror film Baskin from TIFF a few years ago. This is a clever concept as well - enhancing a post-apocalyptic survival story with these kids and their missing parts. Girl With No Mouth stars Denizhan Akbaba, Elif Sevinç, Özgür Civelek, Kaan Alpdayi, Sermet Yesil, and Mehmet Yilmaz Ak. I'm curious to see where it all leads and what it's trying to say. Perhaps just that they are safer with everyone's strengths working together. Here's the official trailer (+ posters) for Can Evrenol's Girl With No Mouth, direct from YouTube: In Girl With No Mouth, a group of children who...
- 11/18/2020
- by Alex Billington
- firstshowing.net
Rock Of Ages (12A)
(Adam Shankman, 2012, Us) Julianne Hough, Diego Boneta, Tom Cruise, Alec Baldwin, Russell Brand, Paul Giamatti, Catherine Zeta-Jones. 123 mins
Doing for 1980s hair metal what Mamma Mia! did for Abba, this glossy musical gives you the broad pleasures of pantomime rather than rock'n'roll danger, with theatrical star turns and a playlist of power ballads hung around an archetypal tale of a smalltown girl and a wannabe rock star boy on La's Sunset Strip. You can stop believin' now.
Cosmopolis (15)
(David Cronenberg, 2012, Fra/Can/Por/Ita) Robert Pattinson, Juliette Binoche, Sarah Gadon. 109 mins
Don De Lillo's prescient novella makes for a cool Manhattan odyssey, centred on Pattinson's jaded banker and the Occupy zeitgeist.
Polisse (15)
(Maïwenn, 2011, Fra) Karin Viard, Joey Starr, Marina Foïs. 128 mins
A Wire-like approach to a French child protection unit reaps dividends for this docu-style procedural.
Red Lights (15)
(Rodrigo Cortés, 2012, Us/Spa) Cillian Murphy, Robert De Niro,...
(Adam Shankman, 2012, Us) Julianne Hough, Diego Boneta, Tom Cruise, Alec Baldwin, Russell Brand, Paul Giamatti, Catherine Zeta-Jones. 123 mins
Doing for 1980s hair metal what Mamma Mia! did for Abba, this glossy musical gives you the broad pleasures of pantomime rather than rock'n'roll danger, with theatrical star turns and a playlist of power ballads hung around an archetypal tale of a smalltown girl and a wannabe rock star boy on La's Sunset Strip. You can stop believin' now.
Cosmopolis (15)
(David Cronenberg, 2012, Fra/Can/Por/Ita) Robert Pattinson, Juliette Binoche, Sarah Gadon. 109 mins
Don De Lillo's prescient novella makes for a cool Manhattan odyssey, centred on Pattinson's jaded banker and the Occupy zeitgeist.
Polisse (15)
(Maïwenn, 2011, Fra) Karin Viard, Joey Starr, Marina Foïs. 128 mins
A Wire-like approach to a French child protection unit reaps dividends for this docu-style procedural.
Red Lights (15)
(Rodrigo Cortés, 2012, Us/Spa) Cillian Murphy, Robert De Niro,...
- 6/15/2012
- by Steve Rose
- The Guardian - Film News
A faintly impenetrable Turkish fable about a thief with healing powers that doesn't quite beguile
Tiny pendants of audiovisual poetry adorn this otherwise faintly impenetrable Turkish fable – about a thief with healing powers who arrives in a heavily fortified town populated by suspicious minds – but it needed a hypnotist film-maker of Tarkovsky or Béla Tarr's calibre to dangle them in such a way as to beguile us. Instead, writer-director Reha Erdem – following up 2006's rapturous Times and Winds – offers a Stars in Their Eyes-level cover of these arthouse heavy hitters: there are notes of Stalker in the film's abandoned, paper-strewn interiors, and of Solaris in its free-floating extraterrestrial imagery, and a hero who's part Irimias, the poet-swindler of Tarr's masterwork Sátántangó, part Peter Pumpkinhead (pace Xtc). Munching sugarcubes for no apparent reason, lead Sermet Yesil makes a winsome savant, but his tendency to communicate with his beloved in...
Tiny pendants of audiovisual poetry adorn this otherwise faintly impenetrable Turkish fable – about a thief with healing powers who arrives in a heavily fortified town populated by suspicious minds – but it needed a hypnotist film-maker of Tarkovsky or Béla Tarr's calibre to dangle them in such a way as to beguile us. Instead, writer-director Reha Erdem – following up 2006's rapturous Times and Winds – offers a Stars in Their Eyes-level cover of these arthouse heavy hitters: there are notes of Stalker in the film's abandoned, paper-strewn interiors, and of Solaris in its free-floating extraterrestrial imagery, and a hero who's part Irimias, the poet-swindler of Tarr's masterwork Sátántangó, part Peter Pumpkinhead (pace Xtc). Munching sugarcubes for no apparent reason, lead Sermet Yesil makes a winsome savant, but his tendency to communicate with his beloved in...
- 6/14/2012
- by Mike McCahill
- The Guardian - Film News
Rating: 2 out of 5 stars
Beautiful, lingering shots of forbidding snow-topped expanses have become a facet so typical of European “art-house” fare that we might as well just call it the cliché that it is. With curious characters and an involving story, such locales can enhance a sense of isolation and dread, yet when dispassionately employed amid a filmmaker’s confused vision, it can often leaven befuddling results. Such is true of Kosmos, the unfortunate latest feature from Time and Winds director Reha Erdem.
The first sight in Kosmos is of a man, panic-stricken and running away, struggling to catch his breath. He rescues a young boy who has fallen into an icy river, and the boy’s endlessly grateful father quickly asserts that the man, Kosmos (Sermet Yesil) must have been sent from God. While this seems oddly plausible from the outset – and Kosmos is warmly received by the citizens of Kars,...
Beautiful, lingering shots of forbidding snow-topped expanses have become a facet so typical of European “art-house” fare that we might as well just call it the cliché that it is. With curious characters and an involving story, such locales can enhance a sense of isolation and dread, yet when dispassionately employed amid a filmmaker’s confused vision, it can often leaven befuddling results. Such is true of Kosmos, the unfortunate latest feature from Time and Winds director Reha Erdem.
The first sight in Kosmos is of a man, panic-stricken and running away, struggling to catch his breath. He rescues a young boy who has fallen into an icy river, and the boy’s endlessly grateful father quickly asserts that the man, Kosmos (Sermet Yesil) must have been sent from God. While this seems oddly plausible from the outset – and Kosmos is warmly received by the citizens of Kars,...
- 6/14/2012
- by Shaun Munro
- Obsessed with Film
Reha Erdem's brilliant Kosmos is strange in a way few films beyond experimental cinema ever manage to be. The story of a visitor to a lonely, insular Turkish city and how the people there react to him, it's not merely that it's one of those movies where nothing makes much logical sense or that it tackles very highbrow themes without a shred of irony. Above all else it never seems particularly interested in explaining itself, never throwing the audience more than a cursory bone to help them understand what's going on.
The stunning cinematography makes it obvious pretty early on there's more to Erdem's film than empty arthouse posturing, and there are enough moments of wonder dotted throughout the running time to keep reinforcing that idea, but even the most patient viewer will probably wonder at some point whether it's worth sitting through the whole thing.
Yet persevere until the home stretch,...
The stunning cinematography makes it obvious pretty early on there's more to Erdem's film than empty arthouse posturing, and there are enough moments of wonder dotted throughout the running time to keep reinforcing that idea, but even the most patient viewer will probably wonder at some point whether it's worth sitting through the whole thing.
Yet persevere until the home stretch,...
- 12/5/2010
- Screen Anarchy
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