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The trailer is up.

Looks like a phenomenal new angle on Ceylan's quintessential style. Absolutely can't wait, especially as Ceylan has yet to make anything that was less than superb. Between this and the new Martel horror may be getting a rejuvenation at this year's Cannes.

woah... that looks like a whole new direction for Ceylan. His other films seem so based in reality (at times almost seeming like documentaries) spiced with dreamy slight moments of an odd terrifying mundanity.

I really can't wait to see what an all out fantasy will be like (and one that looks as if shot on Film)

miless wrote:I really can't wait to see what an all out fantasy will be like (and one that looks as if shot on Film)

Looks like, but isn't, according to the film's website. Ceylan is one of the best today at making beautiful images in digital. Looking through the production stills, I'm guessing it was shot on a Sony F23.

Oedipax wrote:

miless wrote:I really can't wait to see what an all out fantasy will be like (and one that looks as if shot on Film)

Looks like, but isn't, according to the film's website. Ceylan is one of the best today at making beautiful images in digital. Looking through the production stills, I'm guessing it was shot on a Sony F23.

His landscape photographs found on his website are still-life representations of his movies, and they are further evidence that he is one of the most gifted artists working in the realm of cinema today. A Palme d'Or win or the FIPRESCI prize for this film would bring him some well-deserved recognition.

I can hardly understand why most people are dissing this film. It is tremendously beautiful, indulgent, misogynistic - a quantum leap from Climates. The story, however inconsequential, provides enough psychological motivation to justify the film's many prolonged scenes of contemplation. You can probably say that this is Ceylan's The Man from London.

another Bilge laff riot

To my surprise, lots of people clapped at the end, and very few people actually walked out. Ceylan is on his way towards a commercial hit!

I saw this at the London Film Festival last night. NBC was there to participate in a brief Q&A, which was cut short because there was a film due on next. I was ready to ask a question about a seemingly innocuous news report about the AK that plays on a background TV. Ran out of time. Bah!

More plot-based than Uzak and Climates, it almost plays as a conventional thriller. A driver takes the rap for his bosses hit and run accident in exchange for a financial settlement, yet this lie leads to more lies, and an explosion of guilt, infidelity and revenge. Then there's the recurring image of a drowned child, relating to a past trauma.

Visually stunning of course, with an almost expressionist look. The constant grey skies, thunderstorms etc reflecting the inner turmoil of a family unable to communicate. Lots of close ups of sweat-soaked faces, taken from unconventional angles, in long, static takes. Par for the course for NBC, you might say. The plot resolution is a little contrived, but that's the only minor quibble with another terrific NBC film.

thirtyframesasecond wrote:I saw this at the London Film Festival last night. NBC was there to participate in a brief Q&A, which was cut short because there was a film due on next. I was ready to ask a question about a seemingly innocuous news report about the AK that plays on a background TV. Ran out of time. Bah!

More plot-based than Uzak and Climates, it almost plays as a conventional thriller. A driver takes the rap for his bosses hit and run accident in exchange for a financial settlement, yet this lie leads to more lies, and an explosion of guilt, infidelity and revenge. Then there's the recurring image of a drowned child, relating to a past trauma.

Visually stunning of course, with an almost expressionist look. The constant grey skies, thunderstorms etc reflecting the inner turmoil of a family unable to communicate. Lots of close ups of sweat-soaked faces, taken from unconventional angles, in long, static takes. Par for the course for NBC, you might say. The plot resolution is a little contrived, but that's the only minor quibble with another terrific NBC film.

Nuri Bilge Ceylan is one of my favorite directors currently at work. New Yorker Films has picked up the distribution rights in North America for DVD it looks like. Three Monkeys link from New Yorker Films (scroll to the bottom of the page and look under Upcoming Releases for Non-Theatrical).

And for Canadians, it appears that Mongrel Media got it. The title has also been listed as "3 Monkeys" :-s

For your information guys, we have it for Australia/New Zealand.

Good work, thanks.

I have just watched this on DVD and was impressed. It's a very beutifully shot film (even if a little too 'arty' at times) and the performances are spot on. One thing that went completely over my head though: this dead child that looks as if he came straight off the set of Cache... what was the 'point' of him? Seemed very arbitrary to me...

Dead sibling/son. Guilt.

An excellent, thorough interview with Ceylan.

Oh, and just to clear this up:

Q7: I'm interested in the dead boy who appears twice – why did you choose to put him in those two scenes?

NBC: I wanted the boy to appear in scenes where a character needed to be comforted, especially the characters who feel an element of guilt regarding his death.

I have to agree with Aguirre though. Still pretty arbitrary, NBC.