Do\u011faya dair hi\u00e7bir \u015feyin olmad\u0131\u011f\u0131, end\u00fcstrile\u015fmenin her yeri ve her \u015feyi \u00e7epe\u00e7evre sard\u0131\u011f\u0131; toplumsal hiyerar\u015finin ve kurallar\u0131n, insanlar\u0131n duygular\u0131n\u0131 esir al\u0131p robotla\u015ft\u0131rd\u0131\u011f\u0131, spontanl\u0131\u011fa yer b\u0131rakmayarak, ikili ili\u015fkilerde olmas\u0131\/g\u00f6sterilmesi gerekenler d\u0131\u015f\u0131nda hi\u00e7bir \u015feye m\u00fcsaade etmeyen, kulland\u0131\u011f\u0131 d\u0131\u015f \u00f6\u011felerle ve k\u0131yafetlerle 60’larda ge\u00e7ti\u011fini d\u00fc\u015f\u00fcnd\u00fcren fakat g\u00fcn\u00fcm\u00fcz teknolojisini de bar\u0131nd\u0131rarak zaman kavram\u0131n\u0131 e\u011fip b\u00fcken distopik bir evrende (ve bu evreni kurarken tamam\u0131yla hayat\u0131n kendisinden ilham alarak yapan) verilen rollerin d\u0131\u015f\u0131na korkarak \u00e7\u0131kmaya \u00e7al\u0131\u015fan bir \u00e7iftin ili\u015fkiye ba\u015flama d\u00f6nemi \u00fczerinden sinema t\u00fcrlerinin t\u00fcm ay\u0131rt edici \u00f6zelliklerini kullanarak olu\u015fturulan melez bir yap\u0131yla g\u00fcn\u00fcm\u00fcz toplumuna getirilen bir ele\u015ftiri.<\/p>\n\n\n\n
Uyulmas\u0131 gereken kurallar toplum \u00fczerinde kendini o kadar hissettirir ki, markette, son kullanma tarihi ge\u00e7mi\u015f bir sandvi\u00e7 i\u00e7in yap\u0131lacak tek \u015fey \u00e7\u00f6pe at\u0131lmas\u0131d\u0131r. \u0130htiyac\u0131 olan birine verilmesi bile i\u015ften at\u0131lma sebebidir. Bu durum ikili ili\u015fkilerde de kendini g\u00f6sterir. Filmdeki diyaloglar\u0131n neredeyse tamam\u0131 ironi ve kinaye bar\u0131nd\u0131r\u0131rken, oyuncular bunlar\u0131 o kadar ruhsuz ve duygusuz s\u00f6yl\u00fcyordur ki, s\u00f6yledikleri \u015feyler kendisinden beklenen bir g\u00f6revmi\u015f gibi hissettirir. Filmdeki t\u00fcm fig\u00fcran davran\u0131\u015flar\u0131 da \u00f6yle. Ve y\u00f6netmen de filmi olu\u015ftururken buna uymak zorundaym\u0131\u015f gibi kurguyu bilerek, bir zorunlulukmu\u015f gibi yapt\u0131\u011f\u0131n\u0131 belli eder.<\/p>\n\n\n\n
Her \u015fey kal\u0131plara hapsolmu\u015ftur ve do\u011faya dair neredeyse hi\u00e7bir \u015fey g\u00f6rmeyiz. Buna \u0131\u015f\u0131k da dahildir. Neredeyse her sahnede kullan\u0131lan \u0131\u015f\u0131k, t\u0131pk\u0131 kurulan bu evren gibi insana uzak ve yapayd\u0131r. Ana \u0131\u015f\u0131\u011f\u0131n dolgu \u0131\u015f\u0131\u011fa g\u00f6re \u00e7ok daha fazla kullan\u0131ld\u0131\u011f\u0131 ve kontrast, koyu g\u00f6lgeler ve ayd\u0131nl\u0131k karanl\u0131k kar\u015f\u0131tl\u0131\u011f\u0131n\u0131 ortaya \u00e7\u0131karan bu \u0131\u015f\u0131k kullan\u0131m\u0131 da asl\u0131nda, klasik Hollywood sinema anlat\u0131s\u0131na bir ele\u015ftiri olarak ortaya \u00e7\u0131kan, bilinen bir izle\u011fi izlemek yerine ters k\u00f6\u015feler, karanl\u0131k sokaklar, gece \u00e7ekimleri, umutsuzluk ve belirsizlik bar\u0131nd\u0131ran Film Noir olarak nitelendirilen filmlerin en belirgin \u00f6zelli\u011fidir. Film bunun gibi, bir\u00e7ok sinema t\u00fcr\u00fcnden \u00f6d\u00fcn\u00e7 ald\u0131\u011f\u0131 \u00f6\u011felerle anlat\u0131s\u0131na, o t\u00fcrlerin var olu\u015f sebeplerinden ald\u0131\u011f\u0131 g\u00fc\u00e7le, zenginlik katm\u0131\u015f.<\/p>\n\n\n\n
Film eski bir d\u00f6nemde ge\u00e7iyor hissi yarat\u0131rken, radyoda duydu\u011fumuz Ukrayna – Rusya sava\u015f\u0131na dair haberlerle g\u00fcn\u00fcm\u00fczde ge\u00e7ti\u011fini d\u00fc\u015f\u00fcn\u00fcr\u00fcz fakat bir yandan da bu haberlerin asl\u0131nda ne kadar da eskiye ait bir \u015fey oldu\u011funu hissederiz. Bu kadar geli\u015fmeye, ilerlemeye ra\u011fmen insanl\u0131k olarak h\u00e2l\u00e2 bir ad\u0131m ileri gidemedi\u011fimizin bir ele\u015ftirisidir.<\/p>\n\n\n\n
Y\u00f6netmen bu ele\u015ftiriyi, filmden \u00e7\u0131kan iki ya\u015fl\u0131 adam\u0131n aras\u0131nda ge\u00e7en diyalogta, izledikleri zombi filminin, Robert Bresson’un Bir Ta\u015fra Papaz\u0131n\u0131n G\u00fcncesi adl\u0131 k\u00fclt filmini an\u0131msatt\u0131\u011f\u0131n\u0131 s\u00f6ylemesiyle bir ad\u0131m ileri ta\u015f\u0131yarak, asl\u0131nda g\u00fcn\u00fcm\u00fcz insan\u0131n\u0131n ne kadar vasatla\u015ft\u0131\u011f\u0131n\u0131 g\u00f6stermeye \u00e7al\u0131\u015f\u0131r.<\/p>\n\n\n\n
T\u00fcm bunlar\u0131n d\u0131\u015f\u0131nda filmdeki renk ve \u0131\u015f\u0131k kullan\u0131m\u0131, g\u00f6r\u00fcnt\u00fc y\u00f6netmeninin \u00e7\u0131kard\u0131\u011f\u0131 i\u015f harika.<\/p>\n","protected":false},"excerpt":{"rendered":"
Do\u011faya dair hi\u00e7bir \u015feyin olmad\u0131\u011f\u0131, end\u00fcstrile\u015fmenin her yeri ve her \u015feyi \u00e7epe\u00e7evre sard\u0131\u011f\u0131; toplumsal hiyerar\u015finin ve kurallar\u0131n, insanlar\u0131n duygular\u0131n\u0131 esir al\u0131p robotla\u015ft\u0131rd\u0131\u011f\u0131, spontanl\u0131\u011fa yer b\u0131rakmayarak, ikili ili\u015fkilerde olmas\u0131\/g\u00f6sterilmesi gerekenler d\u0131\u015f\u0131nda hi\u00e7bir \u015feye m\u00fcsaade etmeyen, kulland\u0131\u011f\u0131 d\u0131\u015f \u00f6\u011felerle ve k\u0131yafetlerle 60’larda ge\u00e7ti\u011fini d\u00fc\u015f\u00fcnd\u00fcren fakat g\u00fcn\u00fcm\u00fcz teknolojisini de bar\u0131nd\u0131rarak zaman kavram\u0131n\u0131 e\u011fip b\u00fcken distopik bir evrende (ve bu evreni kurarken tamam\u0131yla hayat\u0131n kendisinden ilham alarak yapan) verilen … <\/p>\n","protected":false},"author":1,"featured_media":209,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[82,83],"class_list":["post-208","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sinema","tag-fallen-leaves","tag-sararmis-yapraklar","latest_post"],"_links":{"self":[{"href":"https:\/\/fatihbasaran.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/208","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fatihbasaran.com.tr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fatihbasaran.com.tr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fatihbasaran.com.tr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fatihbasaran.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=208"}],"version-history":[{"count":1,"href":"https:\/\/fatihbasaran.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/208\/revisions"}],"predecessor-version":[{"id":210,"href":"https:\/\/fatihbasaran.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/208\/revisions\/210"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/fatihbasaran.com.tr\/index.php?rest_route=\/wp\/v2\/media\/209"}],"wp:attachment":[{"href":"https:\/\/fatihbasaran.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=208"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fatihbasaran.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=208"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fatihbasaran.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=208"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}