Mustang

I am Turkish. I know how people behave in rural parts of Turkey. This movie is so ridiculously bad I would not waste another sentence for it if it wasn't for the minimal review length requirement of IMDb. So here it is, 10 lines... Actors do not even come close to give an authentic depiction of how people living in a village in İnebolu act and behave. The story is a disaster. The general attitude of the movie is tastelessly didactic. Don't you ever think that you get a somewhat accurate representation of anything regarding Turkish society from this excuse of a movie. The director/writer does obviously not know how things work in rural parts of Turkey. One of the writers is not even Turkish. So, go figure... The fuss around this movie (oscar nomination etc.) is a textbook case of westerners appreciating narratives about the rest of the world which justify their ideological preconceptions.

A film like this can work on many levels, and surely not just on a basic entertainment factor. It's intriguing because it sets up situations and dilemmas that different sections of the world may entirely reveal shock at it, but these sort of situations can be unfortunate for all involved. Gender issues are at the forefront here and the writing cleverly touches on the issue, along with sexuality as a whole, while creating well-developed characters that serve to guide us through the fascinating, intriguing tale. The entire film is well-directed, a lot of nuance in the proceedings as well as a delicate hand that may have spiraled out of control in the hands of another director. The acting is also uniformly good, and all of the young female characters (in particular the lead) handle the heavy material really well.

Five sisters play in the sand, sunlight, sea and a grove of apple trees. Because boys are present the innocent play is easily twisted, by an envious conservative busy-body, into something sinister. The orphan girls are reported as "whores." Their caretakers, an uncle and grandmother, are much less concerned about the truth than what the neighbors might say. The girls are confined to their house and relegated to shapeless brown dresses, cooking lessons and virginity tests. Banned items include phones, internet and any item capable of outside communication. Their once beautiful and happy playground on the Black Sea is transformed into a "wife-factory" with bars on the windows. Each girl deals with the physical and emotional imprisonment in different ways, sometimes hopeful and often not. The non-professional actors do really well. The girls are especially good because they gel so well together. On the other hand, some of the scenes and actors seem forced and unrealistic. As usual, this independent and worthy film might have benefited from better support. The film as a whole pulls some punches and risks becoming the Walt Disney of Turkey for its glossy portrayals of serious stuff. Then again, that might be the only way the film could be released widely? The moral here, for the girls' caretakers, is that you are likely to get burned if you fight fire with fire. "Evil must be your only happiness," when you see evil everywhere.

Mustang tackles with Turkey's most important problem, the issue of woman in society: her secondary place and the patriarchal chains around her, due to culture, politics, religion and socio-economic development. Therefore, the director's effort should be viewed as most welcome and needed attempt. I think the director manages to show the virtual prison experienced by all sort of women in our society, through the case of those sisters.

However, and despite the director's best intention, movie in general fails to deliver an authentic picture of everyday life and details in the country. Oppression of girls and their youthful desires is correctly depicted as a whole, but done in somewhat unrealistic ways. You get the feeling that the director, the script writer, and even the actors remain quite "foreigners" to the situations they are interested. Some are accusing the director as orientalist (playing to Western gaze) because of these failings. I don't agree, but it would be better if they had worked more on the everyday life and details of the countryside where the film occurs (like better local dialogue, better acquaintance of local customs).

In short, I found Mustang a very important movie, but with its own problems. Technically it does not offer something novel, but it is courageous directly to point the gender issue in a very conservative society.

Undeniably amongst the most powerful, provocative & pragmatic narratives to surface on the silver screen in recent years, Mustang is a beautifully balanced blend of skillful direction, sensible writing & terrific performances that takes a much-needed dig at patriarchy & conservatism and also works as a joyful celebration of sisterhood.

Set in a small Turkish village, the story of Mustang follows five young orphaned sisters whose lives are changed completely when they are caught innocently playing with some boys on a beach, after which their conservative family bars them from going to school anymore and begins marrying them off one by one without their consent.

Co-written & directed by Deniz Gamze Ergüven in what is actually her feature film debut, Mustang takes only a few minutes to establish the strong bond between the siblings before stepping into the realm of absurd social & cultural restraints that snatches away their freedom in the blink of an eye and every restriction imposed upon them turns out to be both nonsensical & unnerving.

The screenplay is no slouch either for it packs in an engaging storyline that smoothly unfolds over the course of its runtime and is filled with meaty characters whose arcs are well-defined plus they exhibit surprising depths. Ergüven's never goes in-your-face with her critical stance on orthodox mentality but simply exposes the challenges women face when growing up in such communities.

The technical aspects are thoroughly refined and work in harmony to further uplift the film's tone & ambiance to its desired level. Camera is expertly utilised, always keeping its focus on the relevant characters, while the bright colour palette reflects the strength & joy the sisters find in each other's company even in the bleakest of circumstances. And editing is immaculately carried out as well for every sequence plays a vital role in the story.

Coming to the performances, Mustang features a relatively inexperienced cast but the contribution from the five girls who play siblings in this feature is a highlight in itself. The scripted characters do have some flesh on them, thus providing a solid platform for the actors to built their performances upon but they further up the ante by delivering wonderfully layered & highly convincing inputs that makes all the relevant characters in the film stand out.

The story is told from the perspective of Lale, the youngest of the five siblings, and it's through her eyes that we witness the injustice she & her sisters are subjected to yet what keeps them together is their common passion for freedom & constant pursuit of ways to bypass the restrictions imposed upon them by the elders. And it is this rebellious nature that slowly accumulates as plot progresses & finally concludes with an act of self-preservation that finishes the tale on a hopeful note.

On an overall scale, Mustang is an ingeniously crafted, meticulously layered & deftly measured cinema that's engaging, entertaining & enlightening on more levels than one and for a first time filmmaker, it's an incredibly polished effort. Ergüven's direction exudes both confidence & composure and the story as a whole manages to make its voice heard loud & clear. A fearless celebration of womanhood & a heartfelt rendition of the indomitable will of human spirit, Mustang is a timely & welcome coming- of-age story and is essential viewing in every sense of the word. Don't miss it!