Film festivals require planning and commitment, and these considerations obstructed me from participating in the Istanbul Film Festival in previous years. This year, however, my schedule allowed it. Add that to the fact that weekday films were only 8 lira and all non-English language films had English subtitles and I really had no excuse not to check it out.
I bought tickets to seven films, and I was not disappointed. Most of the films were shown in the old-fashioned Istanbul cinemas, providing a 40s and 50s ambiance and evoking the era when movies were still innovative and cutting edge and going to see one was still a luxury. While I didn’t plan it intentionally, after I bought my tickets, I realized each film was from a different country, allowing me to glimpse into an eclectic mix of different worlds and cultures. I was also delighted to realize that many of the films explored LGBT themes. Other themes included labor issues, exploitation, grief, dementia, sexuality, ecology, and warfare on all different levels.
The first film, Golden Years (France, French with English and Turkish subtitles), tells the harrowing true story of deserted World War I soldier Paul Grappe. Desperate to escape both the war and the stigma of being a deserter, Grappe reluctantly accepts his wife’s suggestion to disguise himself as a women and takes on an alias, Suzanne. His new persona evolves to the point of a psychological struggle, culminating in an identity crisis that contaminates his relationship with his family. Pierre Deladonchamps delivered such a hypnotic performance as Paul/Suzanne that, even while physically or psychologically abusive, the audience was able to sympathize with him and the identity crisis instigating his abuse. Céline Sallette, as his wife Louise, delivered an equally convincing performance as a woman ensnared in a controlling marriage.
The second film was The Miseducation of Cameron Post (America, English with Turkish subtitles). This film not only proved that Chloe Grace Moretz could actually act (like many people, I was not impressed with her as the title role in the Carrie remake), but also demonstrated the absurdity and abuse of gay conversion therapy. Moretz plays a teenager caught making out with another girl in the back of a limousine. Her conservative Christian family sends her to God’s Promise, an institution that claims to cure homosexual attractions. She befriends a Lakota boy who calls himself a “Two Spirit” (having both a male and a female soul) and a recalcitrant girl hell bent on running away. Hearing the audience chuckle as the film rightfully ridiculed the group’s mission to “cure” homosexuality through religious indoctrination felt auspicious for the LGBT community, in Turkey and the rest of the world. As for the film itself, the characters were fascinating and the story line kept the audience wondering what would unfold next, and I found myself not caring that the title was obviously ripped off Lauryn Hill’s classic album.
Next, I saw La Familia, meaning The Family (Venezuela, Spanish with English and Turkish subtitles). Set in the chaotic, destitute slums of Caracas, Venezuela, it follows the story of Andrés (played by Giovanny Garcia) and his adolescent son, Pedro (Reggie Reyes). After Pedro is involved in a violent incident, Andrés is forced to flee with him to escape retribution from rival gangs. Along the way, both must work at odd jobs in hotels, restaurants, and construction sites, while still grappling with the trepidation that these gangs will find them. While the film dragged aimlessly at moments, Garcia delivered a powerful performance as a father whose only goal is to protect his son’s safety.
After, I saw Of Skin and Men (Tunisia, French and Arabic with English and Turkish subtitles). This film follows the journey of Amel (played by Hafsia Herzi), a photographer whose boyfriend is killed in a car accident. In the aftermath of the tragedy, she channels her grieving process into her work and develops a passion for taking erotic photos of men. Herzi demonstrated stellar acting skills as she portrayed a woman in saturated in profound mourning but also empowered by her creativity and determined to explore her sexuality. As she evolves as a woman and an artist, her relationships with the men in her life also evolve to expose more controlling, but also more intimate and nurturing aspects of their personalities.
The next film was Wajib (Palestine, Arabic with English and Turkish subtitles), which took place in a Christian Arab community in Nazareth, Palestine. In this heartwarming comedy, Shadi returns to his hometown of Nazarath from Italy for his sister’s wedding. According to local tradition, he must deliver all wedding invitations in person along with his father, Abu, played by real life father and son Mohammad and Saleh Bakri. They encounter several obstacles and contentions, some instigated by generational disagreements, others by iniquitous politics. The film managed to explore the aftermath of unjust Israeli policy toward Palestine and its people while still cultivating a sense of humor, something I previously didn’t think was possible.
The next day, I saw a documentary called Makala, meaning “charcoal” in Swahili (Congo, French and Swahili with English and Turkish subtitles). The film tells the story of Kabwita, a father in a bucolic Congolese village who must burn and sell charcoal in order to take care of his severely ill daughter. The terrain and animal life of his village, Walemba, have been decimated by the charcoal industry. Kabwita is forced to carry his charcoal into the nearest town on an old bicycle and, once there, must barter in order to sell it. While the film does not belittle the harshness of Kabwita’s challenges, it also does not demean his humanity or agency, unlike many portrayals of poverty in Africa. Director Emmanuel Gras demonstrated virtuoso cinematography skills in revealing Kabwita’s story.
The final film was an avant garde art film called Incubation (Turkey, Turkish with English subtitles). After the death of her parents, Rüya (Dilara Tekin) is forced to live with her demented grandmother (Nur Ertem), and this initiates a bizarre Alice in Wonderland-esque journey that distorts Rüya’s sense of reality and pits her against her grandmother. While many scenes in the film were a bit disturbing for my taste and I probably wouldn’t watch it again, I respected writer/director Mehmet Selçuk Bilge’s willingness to experiment with variegated camera lighting, unconventional images, and complex family dynamics.
While going to a film festival may not be as convenient as watching a movie downloaded at home and may not offer the viewer as much control, film festivals expand our perspectives by showing us worlds and communities we would otherwise miss. After all, most people wouldn’t download a documentary about charcoal production in Congo. It also motivates people to watch films in public spaces rather than isolated in our apartments. I look forward to the next one.
For more information on the Istanbul Film Festival and to order advance tickets, visit the official website. Tickets can be subsequently printed at any Biletix office to avoid lines.
