Your feedback is important to us!
We invite all our readers to share with us their views and comments about this article.
Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.
Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)
The cinema screen brightens upon the vista of a gloomy mountain face.The captain isn't amused, and the balance of the film follows Berfe and Jiyan as they try to procure a firearm to get Temo released.Huseyin Karabey began his career in documentary, and his fiction film work reflects that practice – both in his reliance on non-professional actors, and the socially engaged themes his films address.Central to this success is the lensing of cinematographer Anne Misselwitz, who also cut her teeth in documentary.Intimate close-ups of Karabey's cast dominate the language of this 105-minute feature, yet it returns to the rugged mountains that commence the film, and Misselwitz is as successful at casting the landscapes of the human face as she is that of Anatolia. The folk tale the three minstrels perform itself enfolds a folktale, which Berfe begins to recite to Jiyan one evening when she can't sleep, and to which she returns over the course of the film.
Destroy it, then run for your life
Jean Chamoun, pioneer of Lebanese cinema, dies at 73
A last cartographer and other stories
FOLLOW THIS ARTICLE