Ceylon's photography style is as academic as ever, with a large number of long shots and detailed captures, which fully express the inner world of the characters. From a realistic point of view, this film shows the ugly side of human nature and the dark side of politicians, which does not need a film to show, we all know this truth. And Ceylon, with his consistent film aesthetics, expresses this ugliness in a textbook-like scene full of beauty, which is unique.
Although the protagonist's home is very dilapidated, it can be seen that their home faces the sea, but their life is not like spring flowers, but chicken feathers. Politicians, drivers, wives, children, everyone has terrible secrets inside that can't help but be terrifying. This has a lot of spiritual core similarities with "Once Upon a Time in Anatolia". The death of the little boy may have been a permanent pain in the hearts of the father and brother, as shown in several details and the fantasy of the two male protagonists. When the little boy appeared in the camera, like it was soaked in water, I thought it was very scary at the time, even though it was not a horror movie.
At the end, the originally calm and even boring plot reached a climax, and a reasonable and unexpected result appeared. Buying freedom with money can actually be reincarnated. The director made a foreshadowing in the first half of the film, and the dialogue between the male protagonist and the teahouse clerk made the final ending not so abrupt. It's a depressing film whose tone defines its style. If you're tired of the ups and downs of noisy commercials and romance movies where you can guess the ending from the beginning, check out Ceylon's work. A different kind of wonderful is waiting for you to discover.
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