Abstract
Nuri Bilge Ceylan is a puzzling filmmaker who started his career as a photographer and initially made films with a “photographic” spirit. But from his first films known as the Trilogy of Province to his award winning latest feature Winter Sleep, Ceylan has changed drastically. Once a modest artist refusing to give interviews, Ceylan has become a regular “red carpet” figure. So this essay will analyze Ceylan’s Winter Sleep from a critical theoretical perspective and try to underline the changes in his cinematography as well as philosophical orientations since his Trilogy of Province. The main points of argument will focus on his shift from an affirmative politics of “ambiguity” towards a dark postmodern “nothingness”.
Highlights
This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press
One of the most outstanding filmmakers of the new Turkish Cinema who won an international acclaim through Cannes Film Festival such as Yılmaz Güney, is Nuri Bilge Ceylan
Contrary to Güney, Ceylan, had very personal choices and refrained from getting popular in the initial stages of his directing career. In his “Trilogy of Province” composed of Kasaba (The Small Town 1997), Mayıs Sıkıntısı (The Clouds of May, 1999) and Uzak (Distant, 2002) he preferred a “minimalistic” cinema reminiscent of the Iranian filmmaker Abbas Kiarostami and the Japanese master Yasujiro Ozu’s existential humanism. He was influenced from the aesthetics of neorealism
Summary
One of the most outstanding filmmakers of the new Turkish Cinema who won an international acclaim through Cannes Film Festival such as Yılmaz Güney, is Nuri Bilge Ceylan. When we look at Ceylan’s Winter Sleep (2014) which won –once again- the best film award at Cannes more than a decade after Distant, we see a surprisingly different Nuri Bilge Ceylan.
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