Raynaud's Syndrome And Bruising

Bal

Semih Bal Kaplanoğlus closes the Yusuf Trilogy from the Turkish director. He formed a deep, quiescent center of the Berlinale competition and won the Golden Bear 2010th

The first shot lasts beaten five minutes. The camera is motionless in the woods, listening to the sounds excited at some point, something in the thicket. A man leads a donkey from the background into the foreground, which itself takes quite a while. Then he throws with a skilful swing a rope over a branch located outside of the framing and zurrt tight. When at last comes the editing, it is quite dramatic: The man climbs, the road begins to break, the man - now the camera moves closer and looks at it from above - is helpless in the air. Then follows a section, and the scene is over.

A typical Semih-Kaplanoğlu-Prolog, very akin to the previous film Süt (2008), which recently ran in Germany at the movies. There was also a very long shot at the beginning, in a tree and a rope played a role, and hung a person on the rope. And there was a snake, which appeared in various parts of the film telling-mysterious again.

reptiles are not in the new movie that is loaded much less symbolic. Above all, the prologue is not as monolithic in itself, but is given back later in his place and his time in the story: He goes after the story about the death of the father of the man who in Yumurta (2007) and Süt , the first two parts of Kaplanoğlus Yusuf trilogy, was absent.

This trilogy is in reverse chronology of the artistic maturation of a poet in the rural, traditional environment of Anatolia. Was in part one initially treated Yusuf's adult life and then in part two of his youth, it is now in Bal for the six year old child. Of an appeal to the poet in this film is not much to remember: In the school makes reading the boy (Bora Altas) associated Difficulties. His poetic vein is expressed in a more intimate relationship with nature, and in its isolation, which can sometimes be the mother of a loss. Yusuf is very much connected to his father and accompanied him at work in the forest, the Kaplanoğlu with the camera captures beautiful images like a fairy tale landscape. A small camera ride along wild flowers. A deer that suddenly shot through Yusuf's shoulder, stands in a clearing - and we are really happy about it. The moon, reflected in a bucket of water will disappear, as your hands into the water, and then reappears. Like a recurring dream.

finds the same time, all but instead a very real place. In the place that is where the father earns the money. It depends hives at particularly high trees. These sequences are more ethnographic than poetic. The steps for extraction are shown very different-looking unknown equipment and later in some detail a traditional dance. Kaplanoğlu, whose own father came from this region of Anatolia, captures it all with almost conservation interest, because of course this world is in modern Turkey doomed. In Yusuf's life further, we already know, but he does not get there, the modern collection, with high-rises and changes in social structures.

Bal (dt: "honey" ; English-language title Honey Festival) directed by Semih Kaplanoğlu, writer: Orçun Köksal, Semih Kaplanoğlu, Cast: Bora Altas: Yusuf, Erdal Beşikç ioğlu: Yakup, Tülin Özen: Zehra

pure vision: http://www.youtube.com/watch?v=npZ8Eqc-qMY