Austrian-Turkish film-maker Umut Dag's drama about Turkish immigrants in Vienna is a bit melodramatic but strongly acted
This debut by Austrian-Turkish film-maker Umut Dag addresses the experiences of second- and third-generation Turkish and Kurdish people in western Europe and how they deal with some resilient first-generation traditions. Like Reis Çelik's recent Night of Silence, it also speaks out about the sacrificial nature of many arranged marriages. We see shy young bride Ayse (Begüm Akkaya) at her wedding ceremony in a Turkish village, evidently about to marry Hasan (Murathan Muslu) and return with him to the groom's family apartment in Vienna, presided over by Hasan's formidable mother, Fatma (Nihal Koldas). It is only when we are back in Austria that we realise that this wedding is a fake, and the real conjugal arrangement prepared for Ayse is quite different. Kuma is strongly and honestly acted, although the drama turns...
This debut by Austrian-Turkish film-maker Umut Dag addresses the experiences of second- and third-generation Turkish and Kurdish people in western Europe and how they deal with some resilient first-generation traditions. Like Reis Çelik's recent Night of Silence, it also speaks out about the sacrificial nature of many arranged marriages. We see shy young bride Ayse (Begüm Akkaya) at her wedding ceremony in a Turkish village, evidently about to marry Hasan (Murathan Muslu) and return with him to the groom's family apartment in Vienna, presided over by Hasan's formidable mother, Fatma (Nihal Koldas). It is only when we are back in Austria that we realise that this wedding is a fake, and the real conjugal arrangement prepared for Ayse is quite different. Kuma is strongly and honestly acted, although the drama turns...
- 8/15/2013
- by Peter Bradshaw
- The Guardian - Film News
When a 19-year-old village girl, Ayse (Begüm Akkaya) is recruited to become the second wife -- a.k.a. kuma -- of Mustafa (Vedat Erincin), we have no idea why she accepts the proposition other than the inherent desire to abide by cultural norms and traditions. Mustafa is a white-haired Turkish gentleman who resides with his Muslim family in Vienna. The presumed purpose of this second marriage is for Ayse to take control of the household once Mustafa's ailing first wife, Fatma (Nihal Koldas), dies. Oddly enough, Fatma supports this situation 100%, going as far as preparing the sofa bed on which her husband will deflower and eventually impregnate Ayse. What confuses matters is that Ayse’s wedding is initially passed off as a marriage to Mustafa's more age-appropriate son, Hasan (Murathan Muslu). Admittedly, I had to rewind the DVD at least once to figure out that Ayse was not sleeping...
- 11/3/2012
- by Don Simpson
- SmellsLikeScreenSpirit
Opening with a bit of a historic snooze fest yet also offering greatness… While costumes and pictures of opening film Les Adieux à la Reine (Farewell My Queen) by Benoït Jacquot were absolutely stunning the story itself was more on the boring side. The film focuses on Léa Seydoux as Sidonie Laborde, Queen Marie Antoinette’s (Diane Krüger) reader, during the days of the French Revolution. The director however is clearly more interested in his female protagonists’ shapes and an overall composed aesthetic than in actually constructing an engaging story; when the camera isn’t busy resting on mademoiselle Sydoux well-shaped breasts there is a lot of slow rushing through Versailles and very little story development going on. In a way it feels like everyone’s hurrying to get off the Titanic, except Versaille is a much more impressive set.
Frédéric Videau’s A Moi Seule (Coming Home) – also in...
Frédéric Videau’s A Moi Seule (Coming Home) – also in...
- 2/11/2012
- by Merle Fischer
- SoundOnSight
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