A.K.A.: Uzak
Country: Turkey
Genre(s): Drama
Director: Nuri
Bilge Ceylan
Cast: Muzaffer
Ozdemir / Emin Toprak / Zuhal Gencer
Plot
Reclusive photographer Mahmut takes in his cousin Yusuf, who has arrived
in Istanbul in search of work after a factory shut down. When Yusuf’s job search falls short, the
lifestyles of the two roommates clash.
What I Liked
Not exactly a thriller, “Distant” relies on its two main characters to
generate interest through allegory.
Mahmut is a man who has cut himself off from all emotional attachments
to the world outside of his own apartment, which he has lived in alone for some
time. Though he willingly takes in Yusuf
out of either a sense of obligation or to feel better about himself, he quickly
perceives Yusuf as an invader, the encroachment of society and humanity into
the fortress of solitude he has built for himself. Mahmut has a stronger relationship with his
photographs, television, pornography, and books than he does with his own
mother, roommate, or estranged wife. The
possibility of an emotional connection with Yusuf threatens Mahmut’s precious
self-imposed isolation. Mahmut seems to
want to break out of that prison, both with Yusuf and his wife Zuhal, but at
every opportunity he instead pushes them further away. That struggle to establish intimacy with
others while fearing the risks is something to which I’m sure plenty of people
can relate. In the end, as Mahmut sits
alone on a park bench with a blend of puzzlement and regret on his face, I saw
Michael Corleone in a similar, contemplative loneliness at the end of “The Godfather,
Part II.” “Distant” doesn’t begin to
approach that classic for emotionality, intrigue, or quality, but it nonetheless
expresses a universal truth in an admirably understated approach.
Important to the films overall mood is the isolation experienced by both
men in Istanbul. The apartment buildings, streets, and
commercial areas are all claustrophobic with people. Everyone seems to know everyone, whether it
be in the public park or in the shipyards.
Yet both Mahmut and Yusuf experience their own discouraging isolation
amidst all of this crowdedness, one self-imposed the other not. Yusuf’s lonely search for work and love in
Istanbul is heartbreaking.
The actors in the two lead roles were not professionals, they were people
from the director’s own private life, a friend and a cousin. I never would have known this had I not done
a little reading on the film. Both do
fine jobs and are entirely believable, making the viewer feel as though we are hidden
voyeurs into the private lives of actual people, rather than an audience taking
in fiction.
What I Didn’t Like
To open my review by saying that “Distant” is not a thriller was beyond
understatement. Outside of a mouse being
beaten to death against a brick wall (something of a climax for the resentment
between the roomates), nothing resembling action is present in this movie. It is all economical conversations, quiet contemplation,
and more quiet despair. We aren’t even
given a soundtrack to listen to, which in this case heightens the realism of
the drama, but certainly doesn’t help the lack of entertainment value.
Most Memorable Scene
As the story progresses and we learn more about Mahmut’s reclusive
character, the opening scene is made more powerful through reflection. We see Mahmut sitting in the dark in the
foreground, while in the background is a blurry female figure. Though she is only on the other side of the
room, she is shot out of focus and seems miles away. We can tell by the colors and movement she is
stripping out of her clothing. Mahmut,
after taking off his shoes and briefly looking at her emotionlessly, walks over
to her, sits next to her and almost mechanically shoves his hands between her
legs. End of scene. The out of focus, seemingly distant person. The lack of emotion on Mahmut’s face. His abrupt, decidedly un-erotic gesture. All symbolic of the man’s inability to
connect with others, even in this most intimate of scenarios.
My Rating: 3 out of 5
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