Times and Winds (2006)

Just perfect...

hyped garbage

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Reha Erdem captures so much in a world almost barren of freedom, opportunity and dialogue. Humanity is everywhere here, and in many of its forms evokes emotion from the observer. The film portrays a life and people who are strong and hard, yet their charm is plentiful. The cast are excellent and the photography seems to be more than just aesthetically delightful. It successfully connects the viewer with the place. The position of the village with its incestuously small life in the huge open timeless landscape with the sea in the distance is constantly magnificent. It echoes the theme, much like the words of the old lady when we first meet her. There are moments of brutality and horror, such as the moment the young girl drops her sister. Delicate moments and vulgar behaviour is witnessed throughout. I particularly enjoyed the run down to the orchard and grazing field each time a child called to his or her father. Or the brushing of heads with the leaves of the tree outside the schoolteacher's house. There is much to see here, even beyond the wonderful children. I loved the two brothers (one good and competent, one not so much) and their interaction with their father. The town's council, the temperamental electricity, the old lady, the school children, and the shepherd boy etc. also fill this document with life. That is the essence of this film (allowing for the fact that I know nothing of Turkish village life.) It is a colourful and expertly made documentation of a Turkish village. Successful in almost every way.Keen to cast an eye over authentic Anatolia, it was slightly disappointing to learn the actress playing the teacher is actually half German, from Germany, and is a doctor and a model. Although this wasn't as noticeable as in the Iranian-Turkmen 'Frontier Blues' where the woman also looking out of place is actually English and even half Berber. Although despite these two discernable women, generally they didn't distract too much from the wonder of the respective settings. As this is a film bubbling with life and character, it can easily absorb its minor faults. Serving as Bresson-like interludes and probably signifying the death of childhood, the wonderful photography of the children in dead like poses in rubble, hay, and vegetation was seemingly parallel to the story's style of filming, and almost out of place. Much like the usually excellent Arvo Part's music which serves only to create an ominous feel or sense of unease which is perhaps the purpose of this odd choice of soundtrack. Whereas the call to prayer works very well.An excellent glimpse of somewhere in Anatolia. Mr. Erdem has acheived a beautiful ode to his beautiful homeland.

To begin with, I must say I was impressed with the cinematography. Turkish cinema is really going in a good direction. In general, I liked the movie as it is but the content did not satisfy so much. During the whole movie, you are exposed to very nice scenery that really reflects the Turkish rural life. The acting was professionally done as well. So the base components of the movie were quite good. The only missing part was a story. I mean it. You can start watching at any time and you wouldn't feel like you missed something. May be the story was so deep that my poor soul couldn't get it but I really asked myself what was this whole thing about, after the movie. I don't want to ruin the reputation of the movie but scenery without content should not be praised that much.

Times and Winds is a portrait of family life in rural Turkey centred on the lives of three young children: Omer, Yakup and Yildiz. The village that they live in is a slightly ramshackle affair; many houses are showing their age and the cobble roads are worn and wonky. The surroundings, on the other hand, are sumptuously beautiful, ranging from lush green woodland to spectacular rocky cliffs and the gloriously shining sea. Director Reha Erdem uses Steadycam to track the characters as they travel through the village and the countryside, creating a sense that the little settlement and its grand surroundings are a seamless, congruous whole.The village, however, is not a harmonious place: there is great distrust between different generations, from the oldest to the youngest, and Omer, Yakup and Yildiz are caught up in this. The three young children all earn the displeasure and disappointment of their elders, and in turn become disillusioned and resentful.Omer's father, a local imam, is ever disappointed with his eldest son, and does little to hide his preference for Ali, Omer's bright younger brother. Omer begins to devise ways of killing his father, who is already suffering under the effects of a disease. Meanwhile, Yakup, Omer's close friend, is upbraided by his father, the muezzin, for trying to steal cigarettes, but finds – to his dismay – that he is being lectured by a moral hypocrite. The women in the village are not free from this futile cycle where the old alienate the young and the young resent the old: Yildiz, an intelligent young girl, has to look after her baby sibling on behalf of her mother, and suffers increasingly under the stress of this responsibility.It is no wonder that in their complicated, unrewarding family lives these children yearn for an escape, and so they gather together in the wilderness around their village to plot and play and dream. Recurring images show the young children lying prone – dead or asleep – out in the wilderness, a sad reflection of a world where they already feel like a disappointment.That is not to say that this is a wholly bleak portrait of life in rural Turkey. It is cheering to see the work done by the village committee members, who gather together to discuss pressing local issues. They condemn the beating of a local shepherd boy by his acting father and they organise the building of a new roof for an elderly lady as the winter sets in. There are also some very funny moments in Times and Winds, including the scenes where the children giggle over procreating animals. Even these scenes, however, are ultimately permeated with the same sadness found throughout the film: the boys catch the girls watching a pair of copulating horses and chase them away, in the belief that girls should not be allowed to see such things. In a place where religious figures such as the imam and the muezzin fall far short of the lofty ideals to which they aspire it is sad to see the wrong-headed behaviour inspired in these children.The film finds the perfect accompaniment in the music of Finnish composer Arvo Part. The sombre, haunting strings that swell periodically throughout Times and Winds mingle with the sounds of nature and of everyday life, and fittingly reflect the torment of human relationships against the most serene and beautiful of backdrops. Though nearly two hours long and driven by only the loosest of plots, Times and Winds does not feel like a slow film. There are so many characters and incidents that the film can be a little confusing in places, but it is relentlessly engaging. Times and Winds is all the more remarkable film for having come seemingly out of nowhere and it will hopefully win some much-deserved attention for new Turkish cinema.

BAS VAKIT (TIME AND WINDS) is less a narrative film than a suspended contemplation on the cycle of life, the passage of time, and the persistence of family traits. It is a work from Turkey of rare beauty visually, musically, and natural grandeur. Writer/director Reha Erdem is a poet as well as an accomplished filmmaker. Three young children are approaching the torrents of adolescence, each carrying emotional scars and family histories that will forever alter the way they reach adulthood. Omer (Ozkan Ozen) is the son of the local imam who climbs the minaret five times a day to chant the call to prayer: Omer's younger, smarter brother is favored by the father and Omer copes with the loathing for his father by planning his death. Yakup (Ali Bey Kayali), Omer's closest friend, has a crush on his teacher (Selma Ergeç) but is deeply disillusioned when he spies on his own father (whom he has always defended against his grandfather's abuse) attempting to court his teacher. Yildiz (Elit Iscan) is a girl under-appreciated by her mother and is stunned to overhear her parents coupling. The three children attempt to engage in a normal childhood, reacting tot he beauty of the natural surroundings of their poor little village to the point of learning animal husbandry first hand! They befriend another young orphan Davut (Tarik Sonmez), the town shepherd, when he sustains physical abuse from his guardian. The sensitivity of the children's reflections of their parents' maladaptive behavior creates a bond that sustains their daily trials. There is not a lot of narrative here, but the sensory pleasures of the film are immense. Divided into sections labeled Night, Evening, Afternoon, Noon and Morning, the film follows the marriage of the calls to worship that clock the lives of these people with the atmospheric cinematography by Florent Herry and embellished by the sumptuous musical score by Arvo Pärt. It is a long film (just short of two hours) that takes its time to unfold the mysteries of coming of age and it is a film that will haunt the viewer long after the credits have ceased. In Turkish with English subtitles. Grady Harp