Ceylan, Nuri Bilge

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    ‘About Dry Grasses’ Review: The Weariness of Hope

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    The latest intimate epic from the master filmmaker Nuri Bilge Ceylan asks whether the world can change, and we can change with it.Two paths lie before the artist. One is through empathy, identifying deeply with the world and interpreting it so others can peer through the artist’s eyes. The other is detachment, standing apart from everyone and everything, observing it from a position of cool remove.Samet (Deniz Celiloglu), the protagonist of Nuri Bilge Ceylan’s “About Dry Grasses,” is the second kind of artist, and it has not been great for his soul. Four years into his mandatory service as a public school art teacher in East Anatolia, he’s fed up with the locals, whom he finds to be mostly a waste of time. But he isn’t terribly kind to anyone, including his roommate and fellow teacher Kenan (Musab Ekici), who likes living there and enjoys his work. Samet is miserable, and eager for a transfer to Istanbul.The one bright light — or at least, distraction — in Samet’s life is Sevim (Ece Bagci), his teachers’ pet, a bright-eyed eighth grader who probably has a crush on her teacher. Their interactions cross no lines. But they interact like peers, and Samet brings her a small and insignificant gift, and even the other students have noticed he only calls on Sevim and her friends in class. Which is why Samet is so shocked, and affronted, when he discovers that two pupils have accused him and Kenan of inappropriate contact with students. He can guess who those two are, and he’s mortified and angry.From here the story starts churning, and Samet’s bad mood deepens. Ceylan, the living reigning master of Turkish cinema, loves to throw a displaced intellectual into a confounding situation and watch him squirm, but his camera is always a source of stillness, pausing for long stretches on the same frame, often juxtaposing the natural landscape with a character’s internal life. Here, the landscape is wintry. Everyone is forever trudging through the snow, and the eternal whiteness throws individual figures and faces into sharp relief.Samet sees the potential for a great image — he is an artist, after all. Ceylan sprinkles stunning still portraits into the film, presumably taken by Samet, of the local people, which might suggest he has some interest in their lives after all. But if he feels curiosity, he masks it well. The center of Samet’s world is Samet and his superiority. (He seems of a piece with the misanthropic writer in Christian Petzold’s “Afire”: his irritations with people serve to convince him that he lives a life of more meaning than they do.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Nuri Bilge Ceylan’s Masterpiece of Existential Angst

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      His moody 2004 film, ‘Distant,’ about an unemployed factory worker in Istanbul, has been revived for a short run at Film Forum in Manhattan.The miracle of Nuri Bilge Ceylan’s “Distant” is that it is continually absorbing, even when not much is happening — which is most of the time. A photographer before he became the dean of Turkish filmmakers, Ceylan is a master of existential angst and transfigured dailiness whose movies invite contemplation.Revived for a week at Film Forum in a new digital restoration, “Distant” — which opened in the United States in 2004, having won the second-highest prize at Cannes — looks even better than I remembered.The brief precredit sequence is emblematic of Ceylan’s style. A tiny figure trudges across a snowy field in what feels like real time, accompanied by ambient sounds. This is followed by a slow pan to the road, slightly in advance of the vehicle that will take him to Istanbul. Immanence is all.An unemployed factory worker, Yusuf (Mehmet Emin Toprak) arrives in the city with vague hopes of shipping out to sea. While shambolically looking for a job, he stays with his older cousin Mahmut (Muzaffer Özdemir), a commercial photographer with abandoned artistic aspirations. (If Mahmut might be the director’s unflattering self-portrait, Yusuf was played by Ceylan’s actual cousin, tragically killed in a car crash before the movie’s release.)Sufficiently affluent to indulge his alienation, Mahmut has a decent apartment in a nice neighborhood, but his emotions are as frozen as the snow that blanket the city. “Distant” often feels directed by the weather. (Ceylan’s next film, about a marital breakup in which he co-starred with his wife, was titled “Climates.”)Each frustrated in his own way, the cousins can barely relate. Yusuf is a bit of a bumpkin. Mahmut is a grouch who spends most evenings sacked out in front of his TV (switching from a Tarkovsky movie to — when Yusuf leaves the room — porn). Mahmut’s immobility is parodied by the sticky tape he puts down nightly in hopes of trapping the mouse that lives in his kitchen.Although his mood of rapt sadness is his own, Ceylan has affinities to Michelangelo Antonioni (feel for bourgeois estrangement), Yasujiro Ozu (exquisite, unshowy compositions), Robert Bresson (precise use of sound) and even Jacques Tati (deadpan humor).Pervaded with a sense of apprehension, “Distant” seems to promise a crime — not least because Yusuf has a practice of following women in the street. In one mordant joke, he trails a woman into a park, inadvertently makes eye contact with another lurker, then hastily conceals himself when the woman’s date shows up.The transgression finally comes from an act of omission, rather commission, so mean and petty as to seem earthshaking. As the fate of the mouse suggests, Ceylan has a feel for understated symbols. The New York Times critic Elvis Mitchell, although generally unenthusiastic (“almost like a droll take on ‘The Odd Couple’”), did acknowledge that “Distant” required a second viewing “to work its spell.”In the final scene, Mahmut sits alone by the harbor, smoking a cigarette from a pack Yusuf left behind. His anguish is palpable. There’s no particular reason to feel sorry for this guy except he’s human and alone.DistantMay 20-26 at Film Forum in Manhattan; filmforum.org. More