Set in a wild, isolated landscape, TEPENIN ARDI tells a simple tale of a warring family trying to sustain a rural existence yet perpetually threatened by the presence of nomads "beyond the hill" (hence the film's title). I learn from one of the other reviews that director Emin Alper describes the film as an allegory of the contemporary Republic of Turkey and its fear of invasion from (unidentified) neighbors. If this is the case, then I would also observe that, internally speaking, the Republic is in dire straits. The family in this film seem incapable of relating to one another: patriarch Faik (Tamer Levent) believes that son Nusret (Reha Ozcan) had been a failure, while Mehmet (Mehmet Ozgur) reluctantly acquiesces to Faik's orders. Youngster Zafer (Berk Hakman) is tormented by dreams; and frequently goes off on his own, while Meryem (Banu Fotocan) fetches and carries for everyone. Alper's film seems more interested in depicting internal strife rather than being concerned with outside threats. While the film has plenty to say in thematic terms, its cinematic style is wearyingly evocative of Nuri Bilge Ceylan, with plenty of long shots (and characters moving side to side within the frame, rendering it a very flat piece of work), minimal soundtrack and few direct close-ups on the actors. Although only ninety minutes long, the narrative comes to a virtual standstill on occasions.
Review of Beyond the Hill
