Zaim connects the dots skillfully
Güncelleme Tarihi:
by Emrah Güler
Oluşturulma Tarihi: Mayıs 23, 2009 00:00
ISTANBUL - Director Derviş Zaim continues to use traditional Turkish art forms as a central motif in his cinema. Using ’ebru’ and miniature, Zaim’s latest feature ’Nokta’ (Dot) uses traditional Ottoman calligraphy both as a metaphor and the backdrop of a thriller set in the salt marshes.
More than a decade ago, director Derviş Zaim wowed audiences and critics alike with his debut feature, "Tabutta Rövaşata" (Somersault in a Coffin), the inspiring story of a car thief. The film went on to win four awards in Turkey’s Golden Orange Film Festival, including one for Best Film and international awards in San Francisco, Thessaloniki and Torino. Since then, he has secured a respected place in Turkish cinema and established himself as a true auteur with five feature films to his name.
Traditional forms of art incorporated into cinema
Zaim’s unique style lies in an incredible insight into Turkish history, culture and traditional arts, as well as a sharp eye for cinema. He incorporates traditional forms of art as strong motifs into his cinema. In "Filler ve Çimen" (Elephants and Grass) of 2001, he delved into corruption and the deep state, using "ebru" (the art of coloring water and placing it on fabric) as a central motif in the story. "Cenneti Beklerken" (Waiting for Heaven), released three years ago, was a historical picture about a master miniature artist, placing the aesthetics of miniature in the center of the film.
Now three years later, Zaim returns to form with another feature film, "Nokta" (Dot), this time using the traditional Ottoman art form of calligraphy as a backdrop to a thriller set in central Anatolia. The film begins with a historical quotation on writing, along the lines of "Good writing serves in conquering life." The film then begins with a short scene set in the 17th century before going on to present-day events. We see the protagonist of Zaim’s previous movie, "Cenneti Beklerken," the miniature artist Eflatun, in an attempt to write something in gigantic and perfect calligraphy over the salt marsh in Konya (now called the Salt Lake, Tuz Gölü, near the city of Konya).
Eflatun worries about running out of ink as he hasn’t added the dot for completion.
We then move to present day, the same location. The events in the film take place over a vast land of salt, the scenes connecting with one another through the camera moving to the sky, then moving back to the salt marsh, giving the impression of watching a single, long take. Only the story isn’t linear.
The movie moves back and forth through time, setting the tone for the mystery and keeping the suspense at a hand’s distance until the final credits roll.
On crime, punishment, redemption, atonement
In the center of the story is Ahmet (in an understated role by one of the finest young actors in Turkish cinema, Mehmet Ali Nuroğlu). Fresh out of prison and his eyesight getting worse by the day, Ahmet finds himself in a pivotal role to steal an antique Koran. The mafia, the owner of the Koran, his bad seed son, the locals and the deranged boy wandering around the salt marsh connect the dots in this story of a crime-gone-wrong. While Mustafa Uzunyılmaz reprises his role of the mafia in a line of similar roles, Settar Tanrıöğen and Cem Aksakal shine in supporting roles.
Through the crime in the center of the movie and its protagonist, "Nokta" asks grand questions on crime, punishment, redemption and atonement. Through making conscious choices and refraining from making choices, Ahmet heads on a journey of redemption. Ahmet’s journey toward blindness soon is set as a metaphor of his guilt that takes hold of him like cancer.
In a press conference in last year’s Golden Orange Film Festival, Zaim described his film as an attempt to reach both those who are content with watching a good thriller and those who enjoy thinking over different layers of a movie and falling into philosophical conundrums. The master seems to have put the final dot in this review.
Traditional forms of art incorporated into cinema
Zaim’s unique style lies in an incredible insight into Turkish history, culture and traditional arts, as well as a sharp eye for cinema. He incorporates traditional forms of art as strong motifs into his cinema. In "Filler ve Çimen" (Elephants and Grass) of 2001, he delved into corruption and the deep state, using "ebru" (the art of coloring water and placing it on fabric) as a central motif in the story. "Cenneti Beklerken" (Waiting for Heaven), released three years ago, was a historical picture about a master miniature artist, placing the aesthetics of miniature in the center of the film.
Now three years later, Zaim returns to form with another feature film, "Nokta" (Dot), this time using the traditional Ottoman art form of calligraphy as a backdrop to a thriller set in central Anatolia. The film begins with a historical quotation on writing, along the lines of "Good writing serves in conquering life." The film then begins with a short scene set in the 17th century before going on to present-day events. We see the protagonist of Zaim’s previous movie, "Cenneti Beklerken," the miniature artist Eflatun, in an attempt to write something in gigantic and perfect calligraphy over the salt marsh in Konya (now called the Salt Lake, Tuz Gölü, near the city of Konya).
Eflatun worries about running out of ink as he hasn’t added the dot for completion.
We then move to present day, the same location. The events in the film take place over a vast land of salt, the scenes connecting with one another through the camera moving to the sky, then moving back to the salt marsh, giving the impression of watching a single, long take. Only the story isn’t linear.
The movie moves back and forth through time, setting the tone for the mystery and keeping the suspense at a hand’s distance until the final credits roll.
On crime, punishment, redemption, atonement
In the center of the story is Ahmet (in an understated role by one of the finest young actors in Turkish cinema, Mehmet Ali Nuroğlu). Fresh out of prison and his eyesight getting worse by the day, Ahmet finds himself in a pivotal role to steal an antique Koran. The mafia, the owner of the Koran, his bad seed son, the locals and the deranged boy wandering around the salt marsh connect the dots in this story of a crime-gone-wrong. While Mustafa Uzunyılmaz reprises his role of the mafia in a line of similar roles, Settar Tanrıöğen and Cem Aksakal shine in supporting roles.
Through the crime in the center of the movie and its protagonist, "Nokta" asks grand questions on crime, punishment, redemption and atonement. Through making conscious choices and refraining from making choices, Ahmet heads on a journey of redemption. Ahmet’s journey toward blindness soon is set as a metaphor of his guilt that takes hold of him like cancer.
In a press conference in last year’s Golden Orange Film Festival, Zaim described his film as an attempt to reach both those who are content with watching a good thriller and those who enjoy thinking over different layers of a movie and falling into philosophical conundrums. The master seems to have put the final dot in this review.