Kiskanmak (Envy)

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Envy: Revenge at its best.

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Envy is a Turkish movie that was adapted from a book written by Nahid Sirri Örik and its original title is Kiskanmak. It is a movie about love and envy in equal measure and it illustrates the manner in which jealousy and hatred can be detrimental to a whole family. If you are one who is preoccupied with movies whose theme revolves around romance, wickedness and jealousy then be sure that this is one movie you can’t miss out on. It will get your hairs up from the minute you start watching it.

Origin and invention of Envy

Jheronimus_Bosch_Table_of_the_Mortal_Sins_(Invidia)Envy: Revenge at its best.

It starts off from a setting in the 1920’s that depicts the formation of a new republic that has all the promise and allure of becoming a great nation in the future. It’s a republic that is formed under the principles of togetherness and equality of all its citizens. However, the events that follow picture a completely different republic, with inequality and oppression taking centre stage. The story revolves around the lives of three main protagonists, Halit (a successful engineer at the local coal mine), his wife Mükerrem and his sister Seniha. All of the three have their own objectives and lust for worldly treasures that make them engage in highly consequential activities that eventually lead to the ruin of the whole family.

Halit’s wife and emotional confinement

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Halit, is a person who is oblivious of his surroundings and does not take time to devour the preciousness of life. He is from a community that pretty much subjects women to being housewives and the men as breadwinners. As a result of his wealth his wife lives a life filled with social occasions and is constantly depicted as a woman who is confined emotionally but who uses wealth around her to reduce her emotional pain.

Seniha and Murekerrem

Seniha on the other hand is depicted as a highly envious sister. She does not approve of the manner in which both her brother and wife live and she is always seen against their backdrop in the movie (though she plays a major role in the whole movie). When Mükerrem, his brother’s wife, gets into an affair with a younger man; Seniha sees it as an opportunity to take advantage of the couple. What follows next in the movie is a tale of endless deceit by all protagonists with envy and jealousy taking centre stage as the root cause of all their problems.

Signing off

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The movies’ setting in a culture that insists on women being locked indoors pretty much show a community that seemingly is oblivious of the role in which women play in the society. It therefore shows all the troubles that come with confinement and lack of love from their spouses. The whole story also shows the troubles that come with inequality and castes in a society that can lead to envious hatred. This movie is highly recommended for people who are into themes of inequality, romance and family drama and at the end it will get you thinking as to who the bad character in the movie is.

 

A Tale Of Passion And Spiteful Revenge

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Envy, and its difference

Kiskanmak (the original title of the movie Envy) is based off a novel that talks about love, lust, deceit and revenge. It being an adaptation from a novel shows a different perspective of the movie’s director who does a good job in replicating the whole tale in 92 minutes. In as much as there have been many movies all with a central theme of love and lust and the accompanying hatred that comes as a result, Envy is different in that the whole movie is based off a protagonist who is not even in the love triangle. However, she dictates the fate of the other main characters in the movie. Seniha (Nergis Öztürk) is her name.

The centre of the movie, Envy

Nergis Öztürk does a great job acting as Seniha and she completely fits in as a completely deranged sister who is envious of the life which both her brother and his wife live and sets out to ruin it. She is pretty much at the centre of every plot conceived in the movie and she does it out of greed and a tinge of trying to make everyone equal in the society or family (however her actions can be questioned against the latter motive). Due to the fact that she is unmarried and lives with his brother and sister, she is always unhappy and her actions betray her sense of happiness for her brother; depicting her as a woman who is very much envious of her brother’s relationship.

The role of Seniha in Mukerrem’s affair

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This envy sets off the whole movie in a rollercoaster ride where all main characters are depicted as pieces in a game with each one playing an integral role in the game; whose ultimate aim is to bring a ruin to the entire family. Seniha is the one who sets all pieces rolling and is accredited for having led Mukerrem into an affair with a younger man. She reads Mükerrem’s fragile nature and her sense of being unloved in the relationship with her brother and takes advantage of it by bringing in a third person into their relationship.

The fate of Seniha’s brother

Seniha’s brother is completely oblivious of the situation that is happening in his own home and when he gets wind of the news of his wife’s affair (from you guessed who), he gets enraged to the point that he kills his wife. As a result he gets imprisoned for his actions. However, the whole tale is much more than a summary of the whole plot. It involves hatred and jealousy in a republic that seemed rosy from its establishment.

A summary of envy

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The whole story is narrated a few years from the country’s independence hence portraying a people who feel betrayed by the apparent misappropriation of resources to the elite in the society and people like Seniha feel that they as well deserve to be happy as their wealthier counterparts. It also showcases the type of culture that is preeminent in historical Turkey, where women were constrained into their homes and their way of life was determined by tradition. Therefore the whole movie showcases a society that is very much at the edge and the whole love triangle story gives evidence to it.

Feminist Review of Kiskanmak

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Kiskanmak’s feminist themes could fully emerge in the 2009 adaptation of the original novel.  SirriOrik, the author of the original work, wrote multiple books about narcissistic, carnally driven women, with deeper intricacy and detail about historical, literary, political, and psychological significance that required Demirikubuz’s direction and eye to fully show contemporary viewers the value within the work.

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One such angle to which Demirikubuz showed the value of Kiskanmak was in the films subtle commentary on feminist self-emergence and transformation.  The film is based on three unremarkable characters, each caught with the mundane pursuits of happiness.  Kiskanmak is the Turkish word for envy, yet in both Orik’s and Demirkubuz’s conclusive utilization of the term it comes to be defined as the trivial, narcissistic indulgences of formative sexualities and formative personalities that lead to ugliness towards people and ugliness towards the self.

Yet, within these deep psychological motifs is also commentary on how women are imprisoned through patriarchal values of fixed beauty.  Within the concept of fixed beauty, the main character was ugly with no hope within her life of becoming beautiful, thus her only choice was to become ugly. How can it be possible to suggest beauty as something fixed then suggest that a person becomes either beautiful or ugly through the circumstances of their own behavior?

 

Kiskanmak points to the idea that this fact was missed because the inner lives of women and what was really happening with their desires for life where ignored in favor of societal and political ideals that favored men.  Nevertheless, the protagonist of the film Kiskanmak, a lonely, bitter, melancholic, woman had little options for self-progress in a country and family whose primary objectives where focuses on men.  Although feminism was not a formal inquiry until the 1970s, the films adaptation of the novel points to the psychological constraints of women’s inner lives in the telling of history and in the portrait of how women of the time constructed narratives of themselves.

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The film explores internal beauty in a way that subtly comments on the way beauty is constructed in culture but also within the individual imagination and response to challenges.  Viewers are left with little sympathy for the protagonist as her personal flaws are made apparent the connections between the outcomes of her life become apparent.  The protagonist is essentially a woman who is ugly towards her sister-in-law who in turn is ugly in a different way towards to expectations of her marriage.  The protagonist’s brother is ugly in a manner that paints a portrait of a coal miner and engineer who is mobile within the world, yet only in appearances.  This is a metaphor for Turkey itself, pregnant with ideals of a new republic, quick to keep up with world social statuses, yet secretly and internally rippling with ugliness of a non-physical nature.

 

The film explores internal beauty in a way that subtly comments on the way beauty is constructed in culture but also within the individual imagination and response to challenges.  Viewers are left with little sympathy for the protagonist as her personal flaws are made apparent the connections between the outcomes of her life become apparent.  The protagonist is essentially a woman who is ugly towards her sister-in-law who in turn is ugly in a different way towards to expectations of her marriage.  The protagonist’s brother is ugly in a manner that paints a portrait of a coal miner and engineer who is mobile within the world, yet only in appearances.  This is a metaphor for Turkey itself, pregnant with ideals of a new republic, quick to keep up with world social statuses, yet secretly and internally rippling with ugliness of a non-physical nature.

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The non-physical nature of ugliness is ultimately the theme of Kisknamak, while offering commentary on the correlation between post-war social ideals and current political environments in Turkey.  It shows that there is often more beneath the surface when the psychological wellbeing of women is ignored and taken as something nonexistence.  It shows that the common human them of envy and jealously that is a perennial human theme manifests in destructive ways in relationships and these destructive manners are more so expression of the society as a whole and how far away it is from its ideals.  Ultimately, the film is a way to showing that the trivial and petty obsessions and judgments within constricted lives, eventually leads to melancholic new beginnings:  new beginnings that are liberating, yet base and raw, uncertain, and unstable, in the same way that founding a new republic looks better from the outside.

 

A Physical And Emotional Rollercoaster

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Envy’s main characters

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Envy is a story about women and the whole love triangle. The main characters are Seniha, Halit and Mükerrem. Halit is the brother to Seniha and husband to Mükerrem. The main theme of the movie is about love and emotions and a community whose traditions dictate a whole load of rules that women should play in a society. As a result women become more of objects and their roles pretty much ceremonial in a family and the whole society at large.

Berrak and her experience

Mükerrem (Berrak Tüzünataç), a wife to a wealthy man, is not left out of this. In as much as she has workers at her feet, she still does not get satisfied with her roles. Her husband only puts her out on displays in social occasions and this hardly pleases her. Berrak does a good job of portraying a woman who has everything that she could possibly dream of but whose heart is terribly intertwined in an emotional struggle. She is also depicted as a woman who goes to all lengths to get what she wants; since her role in the family is more of a ceremonial one she becomes more embroiled in her own self-interests rather than those of her family.

Envy and society

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The movie Envy, shows a society with women being confined to homes and only brought out as a display to the outside world. It also depicts a society whose citizens (mostly women) are not urged to think on their own but rather to be subjects of other people. The result of this is a society in which many people are guided by the selfish interests of a few and whose women lack the love and care characterizing any relationship. Furthermore, some of these people also get embroiled in seeking revenge for what they term as unfairness in the whole society and in their livelihoods.

Mukerrem’s love affair

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Mükerrem is not a stranger to this and with time she gets herself into an affair with a younger man. Her physical and emotional being gets intertwined in a love triangle where she seeks love and companionship on one side and the allure of wealth and displays next to a wealthy man on the other.

Seniha’s reaction to Mukerrem’s love affair

Seniha, Mükerrem’s sister in law, is also not a happy woman. She lives with her brother and her unmarried status makes her uncomfortable whilst staying with them. Soon she becomes enraged with jealousy and becomes zealous of destroying her brother’s successful life. When she gets to find out of the affair that her brother’s wife is having, she details a plan so sinister that its effects rummage the whole family leading to its demise. Whether or not the whole plan is worth it becomes a whole different story at the end but the true story in the movie is the backdrops of societal injustice on women that lead to such scenarios occurring.

What can envy do

Envy is a story that can lead spouses into an emotional path of self-discovery and that enable them to unlock the cobwebs in their relationships. You will start to view your whole relationship in a new dimension after watching this movie and appreciate the tiny details that you thought never counted before. Is it worth watching? Definitely, Envy is a thrilling movie that should be watched by couples all around the world.

 

Political Review of Kiskanak

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Kiskanmak is a 2009 adaptation of the classic Turkish book Kiskanmak.  The title means envy.  It is a work about jealously and envy among mundane characters seven years after the establishment of the Turkish Republic.

The films political commentary is subtle, yet the correlations are easy to see.  The newly found republic was based upon ideals that were incorporated in the lifestyles of the characters.  But like a new country, the characters were making their way through a world not fully aware of the inner foundations and infrastructure necessary to maintain a sense of authentic and practical wellbeing.  Instead, their focus on appearances, diminution of the value and needs of women, and ignoring of the inner, festering illnesses of character led to digressing into trivial fighting, transgressing those noble ideals that once seemed fitting.

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The primary correlation between politics and history was in the inability for the country to look into the mirror to see an authentic portrait of its own development.  Where the mirror is a symbol of beauty, the unwillingness to look into the mirror was the unwillingness to deal with how beauty constructed the eventual development of the country into contemporary times.  What was being avoided was the emptiness behind the appearance, yet, the ability to perceive emptiness suggests an awareness of something deeper and raw in form.

NahidSirriOrik, the original author of the book, was also known for his political and historical writings, making these correlations not too far off.  The 2009 debut of the film certainly allowed for the modern themes that arose between 1946 and the filming to be incorporated, adding a rich yet plain portrait of the one evolution of Turkish personality in the face of oppression, imprisonment, and gender ideals that were the unstable backbone of political ideals of a newly formed republic.

Overall, the film was not intended to be a political and historical film, nor was it intended to be a direct feminist statement, yet it reached into both.  The film was an artistic exploration into minimalist ways of portraying character development to show that personal development and evolution still occurs even under the dreariest of situations and often at a melancholic price.  The film is more about psychosis and mental illness and the dangers of trivializing the inner lives of people as if they have no impact upon people whose lives are deemed more important.

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The idea that there are some lives that are more important that others are the actual causes of the narcissism and jealously within the work, rather than the innate character flaws or blames on the characters.  The film ended with the viewer feeling little sympathy for any of the characters and there as a certain melancholic resolve yet hollowness present.  However, the social inequality that caused the pervasive psychosis cannot be ignored and that can be traced to a Jungian political shadow ideal.  Whereas the new republic was founded upon ideals of fairness and justice, the shadow ideals where subtle statements embedded within the institutions that said that some people’s lives matter more than others.  That the wealthy’s lives matter more than servants, men’s lives matter more than women’s lives, and the beautiful people’s lives matter more than the ugly people’s lives.  Yet, like the Republic, neither of these societal roles are as stationary as they seem and in the present of such inequality eventually the viewer sees in the case of beauty that beautiful people both exist and are made through circumstance.  How, then, is it possible to determine the beauty of a person but over time and story?  Kiskanmak looked at beauty over the course of time and story within the novel and within the movie looked at beauty over the course of a century to show that it is as much about becoming and changing as it is about the fixed structures of social ideals and inequality.

Comparing Kiskanmk the Book and the Film

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Demerikubuz’s Kiskanmak, is a literary and artistic exploration of jealously, ugliness, growth and narcissism in 1930s Turkey.   Kiskanmak means envy or jealousy in Turkish.  Yet, the word, through the lens of the film, becomes something more.  The word kiskanmak comes to mean “to become ugly” or “to turn into an ugly person.”When the film is placed within that context, then the viewer can easily see why it would be a worthwhile watch and the relevance that may hold for inquiry into multiple disciplinary angles.  The original Turkish literary classic was written by Nahid Sirri Orik’s in 1946.Generally, the book and the film are close in expression and detail, with some added artistic departures and some modern themes.

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Demerikubuz maintains the majority of the books original plot, however, the book offers additional back-story detail that helps viewers understand the early childhood and adolescent development of the main character.  That essential detail is somewhat lost within the film, yet inferred through the general milieu and symbolism of the set to make powerful statements on the lifelong effects of progressive neglect that is a form of social inequality and oppression.  Within this context, the film makes up for the detail of the back-story that is revealed so abundantly in the book.  It can hardly be called a departure from the original plot, more so, it is a beautiful drawn artistic rendering of the nonverbal dynamics that construct the main characters psychological world in that she had neither language nor cognition to articulate the complexities of feelings that interwove and layered throughout the course of her life.

Furthermore, the book shows the nuance of the word ugly. It could be concluded that what Orik meant by Kiskanmak was more than jealousy or envy, which is how this word is normally translated. What he meant was that it means ugliness of character, or ugliness in which one is transformed through a way of looking at life, a way of internalized self-perceptions, a way of looking at reality with misery and melancholy. For Orik, the main character was ugly not because she was told she was ugly but because she became ugly.  Perhaps, it would be more accurate to say that the main character was the sister who became ugly.

 

The deeper ramifications are that ugliness is part of the society and political client.  The remark ability of the characters and their plainness within the book is a concern for how a movie adaptation of such a work would hold interests. Yet, the unreachability and mundaneness of the characters is a statement about the plainness of Turkey in the 1930s and how the ideals of mundane beauty were kept while ignoring a large segment of the populace that was growing ugly.

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The book offers a depth of historical climate detail, for which Orik was well famous in his other works that the movie could not fully express in the limited imagination of the screen as well as through the specific lens of the directors theoretical approach to cinema. The movie was overall an artistic and minimalist approach in an attempt to capture the mundane ways of being of the times, yet without the compelling and contemporary antidotes that makes films extraordinarily attractive and even compulsive, tapping into the inner world of the viewer to draw out feelings of fear, rage, envy, and melancholy. Instead, it was rather simple and true to the manuscript, leaving more for the imagination. Without that extra padding of contemporary standards of compelling beauty in cinema, could the story in its depths and implications within the novel fully reach the screen?  Perhaps, only for those who would contemplate, but not for the average viewer.

 

Envy: One Of The Best Turkish Blockbusters Of The Decade

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Envy’s theme carriers

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Envy tells the story of Seniha (Berrak Tüzünataç) who lives with both her brother Halit (acted by Serhat Tutumluer) and his wife Mükerrem (acted by Nergis Öztürk). Halit is 40 years old and is a highly successful engineer at the local coal mine. Mükerrem on the other hand is a 25 year old woman and is generally a housewife. Seniha, Halit’s sister, is depicted as an ugly woman who has over the years developed some form of hatred for his brother.

Seniha’s family

The hatred that Seniha has for his brother is not well detailed in the movie; however she sees a way of getting back at his brother with Mükerrem. Demirkubuz, the movie’s director, seemingly does not detail the relationship between Seniha and her brother properly as is detailed in the book. However, he shows that the sense of hatred was probably propelled as Seniha and Halit were growing up. Her parents pretty much favoured Halit and they sent him off to an engineering course abroad not caring about Seniha’s education. But probably the worst part is that when Seniha falls in love with another man, her parents refuse to marry her off (because of the fear that the money set out for her brother’s fees would be consumed in the whole process) and instead after some few years decide to marry her off to a widower with three children much to the chagrin of Seniha. She declines and this sets off a spark of hatred towards his brother.

Demirkubuz states facts

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Demirkubuz does a good job by defining the shots which follow each other in a fact driven motion, with each view stating the facts from the preceding one thereby keeping the viewer engrossed in the whole story unravelling in front of their eyes.

Twisted plot to death

Nüzhet, son to the wealthiest family in the town, approaches Mükerrem and hits on her. At first Mükerrem is disgusted about the whole situation but the more he insists the more Mükerrem gets her doubts on her relationship with Halit and starts off an affair with Nüzhet.  This all plays out as Seniha watches on the background and sneaks in to listen in the affairs of Nüzhet and Mükerrem; her moment of getting her brother’s wife cheating coming into reality. What follows is a series of plots where Seniha creates a twisted plot that eventually leads to death, fragmentation of the whole family and imprisonment.

Envy’s quality as a movie

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So does Demirkubuz do a good job on Envy? The fact that the movie is based off a book makes the whole plot susceptible to critics who’ve read the book, with most of them saying that the movie did not do justice to the story narrated by the book. However, the vibrant nature of the movie is in its depiction of human nature showing a director who is positively fascinated in telling people’s story. He is almost entirely engrossed in the personalities of the characters and seemingly puts the viewers in the characters’ shoes. The film shot are also electrifying and bring an ambience of the early 20th century with the lighting and fogging done in an almost precise manner. This is truly a movie you wouldn’t want to miss out on.

Book Or The Movie

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Get the theme first

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As you might have probably known by now, the movie Envy is an adaptation of the novel original titled Kiskanmak by Nahid Sirri Örik. The book was first published in 1946, while the movie was released in 2009 and was directed by Demirkubuz Zeki. In understanding the book, you should first understand the writer’s flair of writing. Nahid was absorbed in writing romantic novels with a twist and he always depicted women as people who were immersed in their own self gain of their internal desires and that men who were found attractive but had feminine characters, were deeply ignored by the whole society (this was probably because he was gay and when he came out of the closet, the literary world did not want anything to do with his works due to the stigma associated with homosexuality at the time).

Seniha and her exploits

Kiskanmak is a book about the life of Seniha who happens to be the main protagonist. She lives with her brother and his wife in a small Black Sea town. The book depicts Seniha as being quite ugly both externally and internally and is filled with both wits and jealousy in equal measure. Her story is on revenge on her brother and what she terms as unfairness in how they were brought up. As a result she sets out on a path to destroy her brother’s world and none of the other characters is wiser about her intended actions. In doing so, she leverages on her brother’s very young wife to cheat on him. In doing so, she finds a way of breaking up the whole couple. The true feel of the book is getting to read both Seniha’s and Mükerrem’s emotions and understanding them on a personal nature (a touch that is left out in the film). At the end of the whole story, you will acclaim Seniha as a truly witty and dark character in the book.

Mukerrem and Demirkubuz

The film adaptation of Kiskanmak does not detail the inner details as much, though Demirkubuz does a good job in the voice overs (while detailing the character’s thoughts). The film brings the whole story to a reality and the flickering lights and fogged windows reminiscent of the 1930’s bring the whole story to life. The movie also details the lust and sexual exploitations of the affair that Mükerrem had more vividly than in the book, probably an added touch from Demirkubuz’s work; however some term it as a bit on the excessive (though it does a lot in explaining the subsequent scenes that follow in the film).

The pros of the movie

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The major advantage of the film is that it brings out the narration into life and does a good job at it considering that it runs for 92 minutes. Demirkubuz shows us the internal functioning of our human behaviour and how we all hide in our emotions and in the shadows of others up until we get an awakening that reveals our true nature.

What do you do?

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My recommendations? If you can get a chance of reading the book and watching the film, it would be better; however the movie does a good job at detailing the whole narration in a modern way.

 

What You Should Know About The Envy Movie

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The basis of Envy

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Envy is based off the novel by Nahid Sirri Örik whose original title was Kiskanmak. As is common with any film that has been adapted from a novel, putting out the work into film can be tedious and especially when it involves love and deceit (probably because of all the off-set facts that readers are usually detailed and which is hard to do in films). Therefore, there are a lot of things that you can pick up from the Kiskanmak novel that are not detailed in the film.

The main story in envy

Örik’s work can be detailed as beautiful and thoughtful pieces that detail women as people who are driven emotionally by their selfish desires hence providing a nice adaptation for the screens (probably one of the reasons why Demirkubuz took up his novel). The main story behind envy is that of a couple, Halit and Mükerrem, who live together with the husband’s sister, Seniha. Of considerable importance is the age difference between the couple with Halit, the husband being 40 years while his wife Mükerrem being 25 years of age. Seniha is also detailed as having zealous hatred towards his brother but which is not brought clearly in the film.

Mukerrem feelings after the affair

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Mükerrem cheats on her husband with Nüzhet, son to a wealthy town family, and Seniha gets to find out. However, Mükerrem is brought out as a character that strongly loves her husband and therefore one would be at pangs trying to understand why she would cheat on him in the first place. However, the book pretty much details this quite well. In the book it is shown that Mükerrem did not have the first honeymoon passion reminiscent in any couple after their wedding. Therefore, even after being in love with Halit, Mükerrem still feels an urge deep inside her that makes her struggle between being a good wife and attaining her own internal desires (which she knows Halit can’t provide). Seniha notices this and bets on when her brother’s wife will cheat on him in order for her to take her revenge on his brother.

Why would Seniha revenge?

Again, without reading the book, you would wonder why Seniha would want to revenge on her brother and yet they are siblings. The film tries to show this by detailing the constrained communication between the two; however the truth lies in the book. Seniha always felt left out whilst they were growing up with Halit. Their parents always favoured Halit and this was echoed in their actions as well. When Halit went abroad to study for engineering Seniha fell left out on her education, however she shrugged the whole issue and fell in love. However due to her parents’ concerns over the money they had set out for Halit’s education, they could not accept to get into wedding arrangements for Seniha hence rejecting to give her out. Over time, Seniha crawled into her own cocoon of selflessness and bitterly accused her brother of her troubles in her heart. This is why she always felt that she should revenge for having failed to be with her own lover.

Envy is commendable

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The film is quite interesting but you should have all the facts set out right in order for you to enjoy the whole drama. However, if you are not a bookie then be sure that Demirkubuz did a good job at highlighting the main themes of the whole story in the best way possible. This is a highly recommended must see for anyone who loves romantic movies with a twist of deceit and hatred.

What Next After Envy?

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Demirkubuz and ethical dilemmas in movies

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Envy is one of those movies by Demirkubuz that has a deep story behind it such that moving on to another film is hard unless its storyline is as exhilarating as the screen play. However, this should not be a problem to you considering that there other movies that have been done by Demirkubuz that deserve a mention due to the immense work that has been put behind them as well as having a deep storyline that resonates well with the audience. Zeki makes movies that involve ethical dilemmas and usually involve; love, lust, deceit and selflessness. So if you are interested in Zeki Demirkubuz’s work, then you should check out some of his recent works which include “Bulanti”, Nausea (released in 2015) and “Yeralti”, Inside (released in 2012).

Fans reaction to protagonist movies

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Yeralti is a film based off ‘Dostoyevsky’s Notes from Underground’ with its setting being in Turkey rather than in original Russia. It tells the tale of a former writer (read failed writer) who is much engrossed in discovering himself that he decides to be honest with everyone about his emotions and whatever he thinks about. This does not go well with those close to him and they quickly start to avoid him because of this which leads him into a world of oblivion where he is all alone. The whole story is about the objective of being alive and the rewards being sort. The main protagonist in this film questions having to work in the same place every day and as such ends up getting into his own imagination in order to find another world where he can derive some sort of reason for his existence. It is a classic piece of Demirkubuz in explaining how humanity manifests on its own.

Bulanti

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Bulanti on the other hand is a film about an academic, Ahmet (which Zeki himself acts as), who gets into a recluse after both his wife and daughter die in a car accident. The film almost like Yeralti, shows how Ahmet struggles in getting to relate with other people as he mostly prefers being on his own. The story as well borders on the nature of being human and Zeki’s acting is brilliant considering that he is the only person who understands how he would want to portray the protagonist in the movie. As is reminiscent in his films the film will get you immersed in careful thought all through its screening and more afterwards on the meaning of being in existence.

Other notable works by Demirkubuz

Apart from these two, other notable works of Demirkubuz are Kader, which went on to win an award for the Best Film in 2006 at Antalya Golden Orange Film. This is a must watch on the list of Demirkubuz’s best films. You should also watch Frenzy directed by Emin Alper (a more recent modern theme that tells the tale of modern Turkey) and Kor by Zeki Demirkubuz released in 2016. With these other options to watch, you will definitely appreciate the movie culture that is being born out of Turkey.

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