Onur Ünlü's type of drama manifests itself with touching parts of lives that are anywise connected. Cancer is the main character of this movie as usual, and the director's concerns about life are obvious with some objects that are both concrete and abstract like trains, poetry, tea, betrayal or disappointments.
Dilek is a character who represents modern way of love, yet, with more desperate and troubled sense. Her attitudes towards Şevket, who is more like an old-timer, superstitious, and recluse type, are so insensitive and soulless, even offending. The poetic sense that Şevket has with pure emotions at least vouchsafes him a suicide that he seeks for. But not everybody has an opportunity to sentence his or her own death. Dilek is, consequently, killed without having used her chance to die. That can be interpreted as poetic justice with an apparent metaphor.
Aydin is a hopeless police officer appointed to Istanbul, which is obviously much bigger city than he lived before. He struggles to adapt himself to this city life which is so difficult with his working hours that is 24 hours work and the next 24 hours rest. Solitude makes him worry about his existence, he cannot stand his own self, comforts himself with some external incidents. Yet, of course, they are never enough. He ends up without a chance to decide his own death just as Dilek.
Osman, apparently, symbolizes more obtrusive story. He is a child with all events around him, has nothing to fear, or feel happy for. Nevertheless, he, himself, uses his chance to kill someone else. By doing this terrible action, he justifies his state as he does it for an innocent desire. But again, he dies, maybe even fairly, as he dreams his innocent love.
Osman's teacher, Tevfik, maybe the one who spoils the poetic justice, is a character who, verily, perfects his own story. As he is betrayed after his reluctant, and perhaps well-intentioned murder he uses his chance to commit suicide. His saying, "don't say so" is notable and screens his innocence before life. Hence, he possesses his judgment on his death eventually.
This movie can be called as a wordless poem, without using fancy objects and dashy, and as likely as not pretentious images, it offers genuineness, and trueness.
Dilek is a character who represents modern way of love, yet, with more desperate and troubled sense. Her attitudes towards Şevket, who is more like an old-timer, superstitious, and recluse type, are so insensitive and soulless, even offending. The poetic sense that Şevket has with pure emotions at least vouchsafes him a suicide that he seeks for. But not everybody has an opportunity to sentence his or her own death. Dilek is, consequently, killed without having used her chance to die. That can be interpreted as poetic justice with an apparent metaphor.
Aydin is a hopeless police officer appointed to Istanbul, which is obviously much bigger city than he lived before. He struggles to adapt himself to this city life which is so difficult with his working hours that is 24 hours work and the next 24 hours rest. Solitude makes him worry about his existence, he cannot stand his own self, comforts himself with some external incidents. Yet, of course, they are never enough. He ends up without a chance to decide his own death just as Dilek.
Osman, apparently, symbolizes more obtrusive story. He is a child with all events around him, has nothing to fear, or feel happy for. Nevertheless, he, himself, uses his chance to kill someone else. By doing this terrible action, he justifies his state as he does it for an innocent desire. But again, he dies, maybe even fairly, as he dreams his innocent love.
Osman's teacher, Tevfik, maybe the one who spoils the poetic justice, is a character who, verily, perfects his own story. As he is betrayed after his reluctant, and perhaps well-intentioned murder he uses his chance to commit suicide. His saying, "don't say so" is notable and screens his innocence before life. Hence, he possesses his judgment on his death eventually.
This movie can be called as a wordless poem, without using fancy objects and dashy, and as likely as not pretentious images, it offers genuineness, and trueness.
