At a masterclass on Thursday, Turkish film director Nuri Bilge Ceylan gave the initial impression of being an austere and unwilling participant. Wearing heavy glasses, keeping his coat on, and responding to questions rather than offering a class, his manner suggested that he was difficult.
In China as the head of the Shanghai International Film Festival’s competition jury, Ceylan also came across as brilliant, learned, insightful, and interestingly self-critical. “I may not be an ideal father (to my two sons),” he said, having recently made a film “The Wild Pear Tree,” in which father-son relationship is central. He also confessed to twice being caught shoplifting cassettes at a time when he lived in London.
But if Ceylan is dogmatic and kleptomaniac, they demonstrate forms of determination that serve his particular, contradictory and dogmatic, film-making process. A process that earned him the Palme d’Or at Cannes in 2014 for “Winter Sleep.
In China as the head of the Shanghai International Film Festival’s competition jury, Ceylan also came across as brilliant, learned, insightful, and interestingly self-critical. “I may not be an ideal father (to my two sons),” he said, having recently made a film “The Wild Pear Tree,” in which father-son relationship is central. He also confessed to twice being caught shoplifting cassettes at a time when he lived in London.
But if Ceylan is dogmatic and kleptomaniac, they demonstrate forms of determination that serve his particular, contradictory and dogmatic, film-making process. A process that earned him the Palme d’Or at Cannes in 2014 for “Winter Sleep.
- 6/20/2019
- by Patrick Frater
- Variety Film + TV
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