Frequently Bought Together
Customers Who Bought This Item Also Bought
Stunning new anamorphic transfer, created from hi-def elements The Making of Climates Climates at Cannes Interview: Director/actor Nuri Bilge Ceylan and actor Ebru Ceylan U.S. Theatrical Trailer Optional English subtitles
2006 97 minutes Turkey Color In Turkish with optional English subtitles 1.95:1 theatrical aspect ratio Not Rated
"Exquisitely structured, pitiless study of a middle-aged man trapped in a stagnant emotional weather pattern." --Lisa Schwarzbaum - Entertainment Weekly
The beauty of the Turkish film Climates, a small but indelible masterpiece, is more than skin-deep. No 2006 film meant more to me. It's as sharp and lovely as the best Chekhov short stories. --Michael Phillips - Chicago Tribune
Top Customer Reviews
Extraordinarily beautiful photography compliment a pacing which allows the viewer to absorb the rich details. There is an intense effort to capture the elusive quality of realizations which are being sensed in a confused present.
Too often we see the drama of relationships being tested, elevated intensities highlighting the struggle to change or remain unchanged. It's less common to see characters struggle quietly with the dawning recognition that there is a bankruptcy in their affection. A couple, Bahar and her older partner Isa on vacation in a coastal town in Turkey, face the painful disintegration of their relationship. The performances which bring this delicate state to the surface are all the more remarkable since they are played by the filmmaker and his wife.
The painful inability to function in a relationship, either from one's emotional atrophy or because one has outgrown that union but can't see it, is at the core of the film. The actors play this out with great sympathy avoiding simple answers. While little happens in terms of action, both characters attempt to move forward with their lives, their choices often outpacing the growth of their knowledge.
Of note is a small performance by Nazan Kirilmis who plays Serap, one of Isa's former lovers in Istanbul. While her presence in the film is brief it's terrific casting, coloring the film's quiet tone and adding a small flash of fire to the story. Not only does this aid in the films dynamic structure, it helps to clarify Isa's ambivalence, grounding Bahar's pain in real terms.
I've watched the film several times, marveling at the storytelling economy, the photography and the performances.
I highly recommend this film.
The relationship crumbles and they both go their separate ways, the husband to the woman who he had a relationship with the wife, to her work in a TV company.
The film is dark, at many times depressing as it examines the collapse and reconstruction of a relationship. Ceylan has hit upon a recipe that many French directors try at but fail miserably. He depicts realism through his lack of extra background lighting, music and minimal dialect. It brings the viewer into the film, makes the viewer care about the characters, sympathise with them and examine the film. French films try hard at this but end up with pointless sex scenes and even more pointless dialect that just bores and annoys the viewer.
Recomended but not as good as Uzak.
Those predecessors: Antonioni, Bresson, Tati, and above all, Tarkovsky, are all champions of the long take. Of those, only Tati was able to act in his own work and maintain control (and let's not forget how ABSENT Tati was from the later, superior, Hulot films). I bring this up because Ceylan--a formidable actor and charismatic on-camera presence--does not quite succeed, here, in controlling the pace of ALL his long takes. The fact that some shots work very well is impressive, but a filmmaker this good ought to have everything working at all times. And, alas, not everything does. Not, at least, in every shot in which he is present.
Still, there is much to be prized in this evocation of love as one of many situations in life that, quite simply, leaves you helpless and stupid.
There is a scene in a television production van in which Ceylan, as Asa, is pouring his heart out to his girlfriend. Each time he comes to something profoundly personal, one or another of the many crew members enter the van to deposit equipment. It is a painfully funny and perfectly played scene. It is so good, it alone would make this film worth watching.
God willing, this director will be with us for quite a while. His being Turkish does not help when it comes to his getting the recognition he deserves. But watch this guy, because he is one of the greats in the making.
Climates is a masterpiece, but it is more than that. It is also possibly an augur to even better things cinematically. It is not an overstatement to declare that Ceylan may be the best living filmmaker today. And, if one argues with that claim, then one might only add that he's the best still at the height of his powers. Yes, Angelopolous's Trilogy: The Weeping Meadow was great, but he's been at a high level for decades now. Ceylan, on the other hand, is still in ascent. Watch Climates, and feel his pull.
Most Recent Customer Reviews
Beautiful film. Tightly wound and clear. Made of the real stuff of life as it sorts itself out and is never what we expect it to be......Published 1 day ago by Watching
Different and refreshing. Long still shots will test your patience.Published 5 months ago by Zekeriya N. Kavrar
This movie is from the best Turkish director ever. He got best movie, best director award many times in Cannes film festival. Read morePublished 6 months ago by Omer Ocak
Nuri is a master and here is another reason why. Enjoy and make sure to watch all his other works.Published on February 6, 2014 by mr craig coady
Living in the U.S. for the past 40 years my parents yearn to watch good Turkish films-being that they both are Turkish. Read morePublished on December 15, 2013 by Claude