‘More’ (‘Daha’): Film Review | Karlovy Vary 2017

Turkish actor Onur Saylak (‘Autumn’) casts immature Hayat Van Eck conflicting maestro Ahmet Mumtaz Taylan (‘Once Upon a Time in Anatolia’) in his considerable directorial debut.

A film about a 14-year-old child assisting out his father during work in a farming outpost on a sea would substantially underline beautiful landscapes yet wouldn’t indispensably make for an engaging story. But Gaza, a protagonist of a hard-hitting Turkish play More (Daha), isn’t usually any teen, and his father, concerned in bootlegging people from a war-torn Middle East into circuitously Greece, doesn’t usually have any aged job. Turkish actor Onur Saylak (Autumn) creates an portentous entrance as a executive here, branch Hakan Gunday’s ink-black novel of despondency into a film that’s a tough lay yet that suggests an awful lot — awful being a user word — about a universe we live in today.

After a world-premiere crawl in foe during a new Karlovy Vary Film Festival, this should transport distant and far-reaching and drum adult poignant seductiveness for whatever Saylak decides to do subsequent as a director.

Ahad (Ahmet Mumtaz Taylan) is a heavy-set male with an equally complicated brow who exploits opportunities wherever he sees them and who expects unquestioned faithfulness from a handful of people he works with, including his many constant aid, Gaza (Hayat Van Eck), his teenage boy. The adolescent, with clear and warning eyes and a can-do opinion that is substantially some-more secure in his relations ignorance than in his character, is extraordinary about a universe and a good student. He’s been personally contrast for a good propagandize in lost Istanbul, yet Dad isn’t unequivocally meddlesome in his educational results, revelation him to “F*** school,” and that’s frequency a initial pointer he’s not an ideal parent.  

Ahad — which, when review backwards, spells Daha, a film’s Turkish due — owns a little lorry that he nominally transports fruit and vegetables with along a coast. But a car is also used to take generally Syrian refugees from a circuitously mire to a vast yet dim groundwork underneath Ahad’s garage and from there, when a continue allows it, onto a vessel that’ll take them to circuitously Greece. Refugees generally seem to stay a integrate of days in movement in a subterraneous store room, during that Gaza is charged with creation them food and distributing H2O bottles.

The charge isn’t an easy one yet primarily Gaza seems to tackle it like any formidable plea during school. There are informative and denunciation barriers — Syrians don’t pronounce Turkish and Turks don’t pronounce Arabic — but a child manages to do a good pursuit and even tries to urge a refugees’ vital standards rather by reorganizing a cellar. Whether to uncover his appreciation or to try and remonstrate him to stay during home rather than leave him behind and pierce to a large city, Ahad allows Gaza to fume and splash and feel like he’s an adult. He even offers him to spin a partner, rather than an apprentice, in his sepulchral interloper business.

Neither of a group is a large talker, so Saylak, who co-penned a instrumentation with Dogu Yasar Akal and Gunday, has to use other means to promulgate what a group are meditative and how their characters are evolving. One of a categorical conduits of information is their earthy greeting to some impassioned occurrences, starting with one of a film’s many heated sequences, in that Dad drags a womanlike interloper from a groundwork into their home one night to rape her. This has happened before and is abundantly foreshadowed, so it is not most of a warn when it occurs. What does warn is a approach in that Saylak stages a rape, suggesting a intensely aroused impact on both a bad interloper and a perpetrator’s son while gripping a tangible rape wholly off-screen.

As a lady tries to shun a horror, Ahad finally manages to locate her and he brutalizes her in a mezzanine while executive of photography Feza Caldiran stays in Gaza’s little bedroom. As if to literally retard out what’s happening, a dissapoint teen has sealed his bedroom doorway and has sat down opposite it, with initial a lady banging on a doorway for assistance and afterwards a horrific pulsation listened as Ahad has his approach with her right behind a door. Gaza, who is a usually one in a frame, can’t yet put his hands over his ears, a gesticulate that during once suggests how assertive a attack is — the soundwork is reasonably terrifying — yet that concurrently reduces Gaza to something of a child, as he knows what’s function yet won’t do anything about it yet fake he can’t hear it.

There are some-more scenes that rest on other things than discourse for their unequivocally abdominal impact, yet Saylak doesn’t always know how to feat them for limit impact. A swat strain that Gaza’s listened from some internal boys, for example, seems to harden Gaza’s solve and during one indicate serves as a approach to prep him for a probable fight with his father. But a method — one of a many that showcases a considerable and tender talents of Van Eyck — is all set-up and no pay-off, as Gaza, chanting a song’s carol and mock-fighting, works adult a bravery to see eye-to-eye with his beast of a father, Ahad afterwards arrives to confront his son yet Saylak afterwards unexpected skips forward to a next, clearly separate scene.

There are a few other little missteps like this, as good as some elements that are unnecessary. They embody a occasionally voice-over from a comparison (but never seen) Gaza that reeks of literary due and indeed distances a spectator some-more from a 14-year-old’s point-of-view rather than bringing him closer and a integrate of unequivocally specific time-jumps — “78 days more” — that not usually sound ungainly in English (perhaps a curtsy to a due creates some-more clarity in Turkish?) yet don’t unequivocally supplement anything. Even so (spoiler ahead), More stays a tautly structured, delicately crescendoing story of a immature child full of guarantee whose intensity and inherited integrity are solemnly being belligerent to a pap by those around him, who, and this is a genuine tragedy, in spin once substantially were splendid immature things themselves. The sour irony of apropos a inhuman tellurian while doing refugees that are evading worse situations on their approach to what they wish will be a improved life creates More not usually tough to watch yet also announces Saylak as a unequivocally means storyteller who can hoop formidable element with considerable directorial confidence.

For a record, a film perceived no state appropriation from Turkey and was done usually with private backing.

Production companies: Ay Yapim, Bit Arts
Cast: Hayat Van Eck, Ahmet Mumtaz Taylan, Turgut Tuncalp, Tankut Yildiz, Tuba Buyukustun
Director: Onur Saylak
Screenplay: Hakan Gunday, Onur Saylak, Dogu Yasar Akal, formed on a novel by Hakan Gunday
Producer: Kerem Catay
Director of photography: Feza Caldiran
Production designers: Dilek Ayaztuna, Aykut Ayaztuna
Editor: Ali AgaMusic: Uygur Yigit
Sales: Heretic Outreach

In Turkish, Arabic
No rating, 115 minutes

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