Autumn

this film is under the influence of ceylan work, characters that are outside of society, filmed in idyllic locations, with a lot of non narrative shots of nature, slow pace until the eventual downfall of the central character.I don't know if Turkish directors discovered existentialist approach in cinema 40 years later but those works are compelling.They really promote their country with beautiful photography and sometimes story becomes secondary, personally i started to wish visiting turkey!People who like images like me will always search of films that celebrate mise en scene.The political aspect of those films (ceylan, ustaoglu)seems to me little under developed or if you wish undermined from the tribulations of the characters, still people who take cinema more seriously than entertainment must see that body of work.

The natural beauty and visuals of the Black Sea area are make the film unique. Of course its a one of the main point of the movie but it makse me perplexed.

The quiet and serene atmosphere effectively conveys the inner journey and sense of social loneliness experienced by the characters................

Damn, it ends like a Russian novel too. The lonely silhouette against the troubled sea, the emptiness, the hopelessness, the sadness, the cold.

Another Turkish movie set in a small village in the mountains where time stood still and people live at their own pace, in stark contrast to city people. I always love seeing those houses, the interiors, the simple people, the daily chores, the mountains, the rivers, the fog, the rain, the greenery all around. These tend to be slow, contemplative movies but I wouldn't mind watching them cause it reminds me of my childhood in a sense and of simpler times.

There's nothing simple about Yusuf's situation. His ideals have been dashed, his health is shot, his life is uncertain, his future as foggy as the mornings to which he wakes up every day. He's also got some PTSD from jail and who knows what else is going on in his head. And what is the use after all. His friend Mikhail is a mirror of what his life could have been in the village. Then a woman comes into his life, cause there's always a woman in movies. But there's a lot more behind Yusuf's dark eyes. Surprisingly it's also a political movie to a small extent. But the ending is open cause how else could you end this pile-up on poor Yusuf...

The characters are clearly under-developed, it would've added more depth to the film if there were more conversations, decent ones, and if the stimulating of the memories of prison wasn't through news materials. For more over all the film was a satisfying experience and I'm giving it 9 mainly for the great cinematography.

Sonbahar represents a realm that metaphorically speaking belongs to silence. Yousuf seems to have that depth with which he can journey from speech to whisper to silence.This film took sadness to a height what I have rarely witnessed in films. The Russian hooker, who is a very young mother too, says to Yousuf, "You know, you seem like you don't live in the present. ... It's like you've walked off the pages of a Russian novel." Exactly that is the point. Everything is past for Yousuf -- even his sadness too -- which is now blank because, as Michail says, everything has gone -- even socialism. Now their girls become hookers. Yousuf remains in the past, he is past everything -- even pains and all. The young boy whom he tries to teach rejects him too. All the memories of university jail and all come like scattered pictures. And that exactly is the depth of blankness depicted in this film. The sad hooker goes away. Only waves rise and fall -- rise and fall -- and everything ends with a death -- a procession of death walking through the valleys. And one thing to say, the eaarlier review by 'eray-basma' mentioned that Sonbahar tries to be like Tarkovsky. I do not know why she/he said it. But, on my part I can say, for more than the last four decades Tarkovsky is like a god to me, both Tarkovsky and his poet father are like a milestone to me in human culture. But not a single time I remembered him during the movie. When it is only sadness and sadness -- the sadness becomes blank and all pervading. Sonbahar is that. Salute to the director.