Kurak Günler

This movie tries to parallel the current Turkish social and political state by using a simple story in a small town in central Turkey using many metaphors. Since the script writer has not worked very hard in doing this, the narrative becomes weaker and weaker as the movie goes on. The first parts were interesting and promising, however towards the end of the movie, the script fell to the point where it broke from being believable and original. Performances are generally good and cinematography is also above average. I hope more of these type of movies with a better story and script are produced in Turkey, because there is a need for them.

When an idealistic young prosecutor is assigned to a rural Turkish community to try a criminal case involving serious allegations involving a major infrastructure project, he quickly finds himself in over his head. Circumstances soon place him in a thorny situation where his credibility, objectivity, reputation and personal integrity are all put at risk, jeopardizing not only his handling of the case, but also his career and future. Unfortunately, as generally compelling as the narrative is at the outset, writer-director Emin Alper's overlong saga becomes a little too convoluted for its own good. One can't help but ask, is it a political film? A thriller? A crime story? A crisis of conscience? The film plays like it tries to incorporate some of all of these qualities in an attempt to tell a story that throws curves at viewers to keep them guessing. But the picture seems to lose its way in doing so, not quite sure how to wrap things up, especially when the supposedly astute big city prosecutor comes across as unbelievably naïve and clueless. These failings regrettably undercut the production's fine performances and superb cinematography, qualities that could have helped to make this release a better offering had they been backed by a better story and script. Indeed, in the end, it's the audience that gets burned by this one.

Emin Alper's fourth cinematic marvel not only aptly describes the Turkish societal and political contemporary condition in a peculiar cinematographic style, but it beautifully teases that condition. Burning Days is both politically realistic and artistically pleasing. At the end of the film, you remain at your theatre seat with a feeling of being understood, a feeling, which is accompanied by an emotion of a kind of indescribable joy. This is a very clever and striking work of art, which is full of wit, irony, and sarcasm. Scenario is quite impressive with little shortcomings, and cinematography, art direction, and music are particularly strong. And, in terms of casting, Selahattin Pasali and Ekin Koc wonderfully express their characters, while supporting actors are very impressive in their performances (especially Erdem Senocak, who plays Kemal).

Turkiye doesn't shy away from social dramas, but it so rarley and bravely decide to delve in such an explicit way when discussing explosive topics such as homophobia, sexism, xenophobia and corruption.

The cinematography is beautiful, giving enough time to explore the confining atmosphere closing in on Emre. Also, the utelizing of water throughout was done in such a clever way - not only with the intention of allegorical, but also as an agent of action driving the characters to act. It also has some bureaucracy absurdism which lightens the mood, right before thing get serious.

The acting is great and well casted, especially the actor playing Emre really knows how to pace himself emotionally, without falling once into an exaggerated dramatic scene. Turkiye's young generation of actors are gaining a name for themselves and their craft.

This is a very good film amidst all the drama surrounding the artistic product. In some ways, one can feel that the whole story was invented to bring us, the audience, to the masterfully symbolic ending of the movie. In a lot of ways that last 15 minutes is an encapsulation of last few years of Türkiye. Those being said, I did not find the relationship between the prosecutor and the journalist (which was quite central to the story) very realistic both in practical and aesthetic terms. Also, there were too many loose ends that were left open which can undermine the director's message. The movie will most certainly occupy an important place in Turkish cinematography, hopefully as a reminder of once crazy times.