O Conto das Três Irmãs

Watching this movie in theatre was a rare experience that I've got such tremendous artistic pleasure for a long while. Emin Alper gifts a masterpiece to his audience with this movie; congatulations!!!

After "Tepenin Ardi" and "Abluka", we witness a new, original film grammar and a peculiar cinematographical point of view by Emin Alper. (I loved those first two movies, as well; I only emphasize the cinematic-stylistic differences between the works) Unlike his first movies, Alper tells no direct-political word in order to signify tender links among the story, actuality and socio-political formations of individuals.

On the contrary, the director masterfully pictures everyday life in a (unidentified) rural region in Turkey and he, for political context of the movie, trusts to the fact that true narration and ordinary details of everyday life naturally presents a stronge and rational political view.

The magnificence of this movie underlies the balanced combination of;

aesthetic composition of visual narration which plays a leading role rather than just supporting the speeches,

avoiding agitative language and redundant action scenes while keeping the tension across the story,

charming and very succesfull acting performances (though every player performs on upper levels, as a very personal admiration; I tremendously loved the shepherd Veysel and middle sister Nurhan),

balanced presentation of psychological motivations and surrounding material conditions, etc...

The movie, within a single and usual story, touches women's problems, restricted opportunities of provincial life and invisible social class links determining the vectors of all kind of human relations.

And finally, I think that the director achieves to form a cinematic langue beyond boundaries basing on a very local story.

Absolutely, all cinema lovers should see.