• FILM REVIEW •
LET YOUR FILM DO THE TALKING
directed by ERKUT ALTINDAĞ
The film starts in a proper making-of style, with a handheld camera capturing behind the scenes shots in the breaks of a drama play. It has an amateur look-alike mood, with a low-res setting based on the peculiar editing technique and concept. The use of this particular method hovers an offset on the movie structure, by delaying the development, instead of adding further meaning or stretching to understand the character's mood.
By reaching the first half, we found the structure a bit common, as it claims more essence, and the way the dialogue is structured sets the conversation abundant — a peak point would be an excellent hook for the average movie consumer. We've been continuously seeking a better understanding of the background of the characters, their interpersonal relations, as the shortage of details makes the dialogue difficult to follow.
The dispute interruption is a great trigger, but we do have to emphasize the technical execution of this scene. The sound we hear from the telephone doesn't feel realistic, making you think its emission takes place in the same room. Still, at this point in the story, we can't concede the time or the concept development, as some numerous structures or styles could result from the plot before reviewing it.
After holding to hear an unclear and undemanded conversation, the second half of this film shifts even further strange than the first one. We are launching in a separate story involving two of the original characters from the first act. Still, it comes out without the necessary and much-needed preparation and doesn't reach a point where the viewer can extract the core idea from this scene shift. The camera performs even further offbeat angles and uneasy frame composition that makes it seem unsuitable and veridical, making the audience drop interest in it.
When it comes to sound, the musical themes are subtle and well scattered throughout the whole plot. Although at times, there is an abrupt fade in each sound cue - a plausible answer may be the recording process - as we might think the sound designer hasn't used a room tone or has made the fades too short to blend with the atmosphere. This particular detail can be undoubtedly disturbing, and here's why: The film will run in a cinema. Even the slightest subtle sounds, compelled with mixing slips, will be highly audible, being performed on a cinema amplification system - that will result too, of course, in everything delivered significantly louder compared to a festival platform.
Moreover, as the story keeps to unfold strangely, the glitch effects will decrease the quality of the project, as they look more like a standard filter, rather than a customized look. Their use spread is wide nowadays, but we believe it is better to keep them for online usage. In terms of art films, these are different types of visual references that shouldn't be blended, perhaps in highly appropriate circumstances, but we believe here it is not the case.
The criminal ending, like other sequences in this film, cracks a bit unprepared and comes unexpectedly. It is troublesome to connect the dots. The plot reveals tricky, as we couldn't cross-connect the shots and the consequences of the character's actions.