61. Cannes Film Festivali’nde En İyi Yönetmen ödülünü Nuri Bilge Ceylan aldı. Ceylan ödülünü kucaklarken, “Benim yalnız ve güzel ülkeme ithaf ediyorum” dedi. Ceylan, üçüncü kez Cannes’da ödül alarak bir rekora da imza attı.
61. Cannes Film Festivali NTV’den de canlı yayımlanan muhteşem bir törenle sona erdi. Oscar’dan sonra sinema dünyasının en önemli ödülleri kabul edilen Cannes’a üçüncü defa katılan Nuri Bilge Ceylan yine bir ödül almayı başardı. Ceylan’ın “Üç Maymun” filmiyle En İyi Yönetmen ödülünü aldığı festivalde Altın Palmiye’ Fransız yönetmen Laurent Cantet “Entre les murs” isimli filmine gitti.
Üç Maymun’, Sean Penn’in başkanlığını yaptığı ve Sergio Castellitto,Natalie Portman, Alfonso Cuaron, Apichatpong Weerasethakul,Alexandra Maria Lara, Marjane Satrapi, Rachid Bouchareb’denoluşan jüri tarafından değerlendirildi. Ceylan’ın rakipleri arasında Changeling (Clint Eastwood), The Palermo Shooting (Wim Wenders), Adoration (Atom Egoyan), Che (Steven Steven Soderbergh) gibi güçlü isimler vardı.Jüri başkanı Sean Penn’in anonsundan sonra kürsüye gelen Ceylan,“Bu ödülü birisine ithaf etmek istiyorum… Yalnız ve güzel ülkem Türkiye’ye…” dedi.Sonucun kendisini şaşırttığını belirten Ceylan, “Büyük onur duydum” diye konuştu ve “Üç Maymun”u festivalin yarışma bölümüne alan ve kendisini En İyi Yönetmen seçen jüriye teşekkür etti.
Nuri Bilge Ceylan, 1995 yapımı ‘Koza’ adlı ilk kısa filmiyle Cannes’da yarışmaya seçilmişti. 2003 yılında ‘Uzak’ Jüri Büyük Ödülü ile erkek oyuncu ve 2006’da ise ‘İklimler’ ile Cannes Film Festivali Büyük Yarışma bölümüne katılıp Fipresci Ödülü’nü kazandı. Ceylan, ‘Üç Maymun’la üçüncü kez Altın Palmiye adayı olarak ve üçüncü kez ödül alarak bir rekora imza attı.
Video: Kırmızı halı seremonisi
Video: Benim yalnız ve güzel ülkeme…
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Reviewed by Ron Holloway
(from the 2008 Cannes Film Festival; entry in official competition)
Uc Maymun (Three Monkeys) (Turkey; 2008) marks Nuri Bilge Ceylan’s fourth visit to Cannes. In 1995, he competed in the short film section with Koza (Cocoon), starring his own parents in a tale of family alienation that has become his cinematic trademark. Also, as an auteur director strongly influenced by the cinema of
Andrei Tarkovsky, Ceylan fills his films with personal feelings, aesthetic convictions and a finely honed stylistic vision. Further, in his portraits of the inner self, he handles (or controls) every phase of production: producer, screenwriter, director,cameraman, set designer, editing. In short, the image is the whole film.
Ceylan’s journey into the self began with Kasaba (The Small Town) (1997), programmed at the International Forum of New Cinema at the 1998 Berlinale.Shot in black-and-white, The Small Town, an impressionistic
portrait of family life in an isolated village, is remarkable for its misty images, as though the entire film is rendered as the director’s own nostalgic dream of times past. Two years later, Ceylan presented his tender and affectionate
Mayis the Sikintisi (Clouds of May) (1999) in the competition at the 2000 Berlinale.
Viewed as an autobiographical treatise, Clouds of May is the story of a documentary filmmaker whose next project takes him from Istanbul to the Anatolian village of his birth. The overriding concern for the merits of the production, however, prevents him from appreciating the rather obscure distress of his father, who needs his son to help validate his legal claim to a piece of land on which he has already built a house.
As the title implies, Clouds of May is flooded with shots of natural beauty – indeed, images reminiscent of Turner’s
landscape paintings. The viewer is beseeched to feel the peace of a idyllic wooded retreat and the languid beauty
of a spring evening, to which are added the faces of people reflecting their deep roots in the rhythms and traditions
of a rural community. Ceylan returned to Cannes in 2003 with Uzak (Distant), awarded the Grand Jury Prize and Best Actor Awards to Mehmet Emin Toprak (post mortem) and Muzaffer Özdemir.
Distant picked up where Clouds of May had left off. The rural cousin in Clouds of May, who asks the filmmaker to help him find a job in the city, is the same young man who comes knocking on the photographer’s door in Distant.
The theme of Distant is found in its title: the slow passage of time, a space giving way to nothingness, a relationship that dies on the vine, a void that is never filled with anything meaningful, a life shown for what it is – barren and colorless. Twice, as though the film needed a frame of aesthetic reference, the estranged photographer is seen viewing a videotape of a Tarkovsky film.Ceylan returned to Cannes again in 2006 with Iklimler
(Climates), awarded the FIPRESCI Critics Prize.As the title hints, Climates is shot in intersecting episodes
against the changing seasons of a blistering summer, a rainy autumn, a frosty winter. Only spring is missing, although Bahar – Turkish for “spring” – just happens to be the name of the female protagonist.
An excruciating tale of a relationship slowly falling apart, Climates stars Nuri Bilge Ceylan himself as a university
professor fascinated by ancient architecture. His wife, Ebru Ceylan, plays his loving but wounded companion.
Now comes Three Monkeys, Ceylan’s third invitation to compete for the Palme d’Or. On the surface, Three Monkeys – referring in the title to the well-known “monkey metaphor” of hear-no-evil, see- no-evil, speak-no-evil – appears to be little more than a family story about human failings. About how covering upthe truth can lead to more extra vagant lies and then tragic consequences.Four people are intertwined in a web of lies. A politician, who
is involved in a hit-and-run accident, persuades his driver to take the blame and go to jail, for which money is paid to the family. While the driver is serving the sentence, the politician seduces his wife. They are discovered by her grown son, a do- nothing who bears the inner burden of having caused the death of his younger brother by drowning. Ebru Ceylan, the director’s wife, cowrote the screenplay andplays the driver’s wife. In a personal statement, Nuri Bilge Ceylan underscored the theme of Three Monkeys as follows: “It has always astonished
me to see in the human soul the co-existence of the power to rule and the potential to forgive, the interest in the most holyand that of the lowest banality, of love and hate.” This said, Three Monkeys is Ceylan’s first film to deal directly with the human soul. It brings him closer to Tarkovsky than
ever before.
Photo courtesy of the filmmaker.
Awarded Best Director at 2008 Festival de Cannes.
Some Links courtesy of Internet Movie Database.
Films presented in Cannes
· 2008 – ÜÇ MAYMUN (THREE MONKEYS) – In Competition
· - Director, Screenplay, Film Editor
· 2006 – IKLIMLER (CLIMATES) – In Competition – Director, Screenplay, Film Editor, Actor
· 2003 – UZAK – In Competition – Director, Screenplay, Cinematography, Set Designer, Film Editor
· 1995 – KOZA – In Competition – Director, Script and Dialogue, Cinematography
Awards
· 2008 – Award for Best Director – ÜÇ MAYMUN (THREE
· MONKEYS) – Long métrage
· 2003 – Grand Prix – UZAK – Long métrage
Member of the jury
· 2004 – Courts métrages Cinéfondation – Membre
