It's tiring. One of Nuri Bilge's films with the most lines. As with every film of his, he highlights cinematography, with landscapes and photographs taking center stage. However, the recurring theme of provincial life is becoming tedious. I feel the director is taking the easy way out here. It seems like he's following a template, just filling in the blanks. Moreover, the constant interruption of the film with portrait photographs seemed meaningless to me, giving it a documentary feel. It was unnecessary.
I'm also getting tired of the recurring theme in Nuri Bilge's films where the main character, an 'intellectual', struggles to adapt to provincial life. There are some new elements in this film, like social media, and issues like harassment and mob culture. However, I believe the portrayal of pedophilia in this film is misguided. In countries like Turkey where these issues are real, depicting them as falsehoods in movies seems absurd to me. It should have been the opposite, confronting the perpetrators. But Nuri Bilge's disregard for such issues and his mockery of the 'me too' movement is well known. Only the Cannes jury seems to appreciate this attitude.
I'm also getting tired of the recurring theme in Nuri Bilge's films where the main character, an 'intellectual', struggles to adapt to provincial life. There are some new elements in this film, like social media, and issues like harassment and mob culture. However, I believe the portrayal of pedophilia in this film is misguided. In countries like Turkey where these issues are real, depicting them as falsehoods in movies seems absurd to me. It should have been the opposite, confronting the perpetrators. But Nuri Bilge's disregard for such issues and his mockery of the 'me too' movement is well known. Only the Cannes jury seems to appreciate this attitude.