Other Colours, Other Voices
Turkish cinema hides so many dilemmas and questions within that it is only natural film criticism turns into an act of reasoning here.
Even though I have written contrasting statements in the past, I have never felt elated by a film. Unfortunately, I am unable to identify a graceful moment of enlightenment and say that it was at this moment, because of this particular film that I found what I wanted to do with my life. I enjoy writing, that’s for sure. I love playing with words and to have an impact on how people perceive what they see or read amazes me, no matter how minor the impact may be. But these do not explain why I have chosen to write about films. The absence of a clear reason is expected, because I consider my job not as writing about films, but as understanding them (or trying to do so).
Turkish cinema hides so many dilemmas and questions within that it is only natural film criticism turns into an act of reasoning here. We are enjoying bright times for Turkish cinema, at least that is how it must seem from a distance. Turkey is the 'defending champion' in Berlin this year, we have a new film in the competition, the most widely known figure of our cinema is a respected Cannes regular. But these stories of success tell only one side of the story. On the other side, there lies the lack of public interest in these acclaimed works and the unbearably poor quality of popular local films.
From a film critic’s perspective, a dangerous outcome of this gap between the art house and the so-called 'cinema for the masses' is a couple of strict definitions. The rules that define which films a critic should appreciate and which ones he must despise. What I find fascinating about film criticism is that it allows me to think outside of these norms. I am incredibly lucky to have the chance to write for an independent platform, where we can devote half an issue to Taiwanese cinema and skip the latest Harry Potter installment. It is equally possible to pass on the obvious critics’ darling and discuss AVATAR (2009) in detail, if the discussion is fruitful.
The joy of coming to the Berlinale is obvious. There is no better place I can visit to meet expert critics, attend a rich programme of seminars, exchange creative ideas. In short, to enhance my understanding of films and art in general. And then, it is certainly possible that I will experience 'the graceful moment of enlightenment' once I delve into the treasures to be found in the film selection, who knows?
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