User Reviews

Shot in black-and-white on a minuscule budget, KASABA (THE SMALL TOWN) is set in a remote area of Anatolia where life, it seems, has stood still. The farmers tend their sheep; the women work in the home; the men either sit watching the world go by or labor on the farms. Occasionally the pace of life is quickened by the visit of a traveling fun-fair.

In this apparently timeless world, director Nuri Bilge Ceylan conducts a searching analysis of the relationship of humanity to nature. The film begins in the village school during the depths of winter; as the children read about the importance of family and community as the basis of social life, the teacher (Latif Altıntaş) looks moodily out of the window, wishing he was anywhere but imprisoned in a classroom. The visual irony is painful - although preaching community, life at school is far from being so.

The action shifts to springtime and the annual funfair. Ceylan contrasts the iron and steel of the big dipper (and other attractions) with the timeless landscape in which they are placed. While the villagers scream with pleasure as they enjoy the rides, we are made aware that this is simply visceral; and should not be compared with our relationship to nature. Yet it seems that no one is much interested in sustaining that bond; little Ali (Cihat Bütün) kills insects with a stick, and turns a tortoise upside down so that it cannot move - it will eventually die of exhaustion. Meanwhile Saffet (Emin Toprak) remains detached both from the fun-fair and the landscape surrounding it.

The explanation for his behavior comes in the film's third movement set in the height of summer, when Ali and Saffet's family sit round a fire, talking to one another. We learn that Saffet feels constrained by life in a small town; desperate to escape, but without any real knowledge of what he wants to do. His uncle Emin (Sercihan Alevoğlu) has been abroad and received a university education, but has returned to his birth; his father (Emin Ceylan) wonders whether all that education was actually worth it. Director Ceylan offers a vivid portrait of small-town life; communities stick together through thick and thin, but the opportunities for growth are limited. On the other hand, the pull of the community is so strong that it can seem suffocating, especially for Saffet.

As the film unfolds, so its complexities increase. Both Emin and the father are fond of telling stories handed down to them by their ancestors - of myths, legends, as well as the more immediate past. Historically these tales were designed to emphasize the value of community; but here they are rejected by the family. They tend to express their frustrations openly; their lack of opportunities, the problems of relating to one another, and the ever-present threat of death. Ceylan creates a portrait of a rural family unable (or perhaps unwilling) to cope with changing times; at times his vision of impending doom is positively Chekhovian in tone.

There is no easy way out of this dilemma: perhaps the only way we can resolve it is to accept that we are governed by the elements. The importance of this dictum is emphasized through repeated shots of the protagonists putting their hands into the river, walking through fields of maize, or standing alone, their shadows visible against the vast landscape beyond.

A slow yet beautifully shot film, in which each frame tells us something about the characters' relationship to their environments, KASABA is a work of near-genius.

This is a very fresh and unusual film that explores the experiences of two children in a small rural town in Turkey in a slow and stylized manner. It seems to encapsulate the experiences of one year into a day, with the morning and school set in the winter, the journey home in the spring, and the evening in the summer/autumn, giving the film a very different feel to it. It possesses a dream like quality, even at times blending dreams with reality.

Despite occasional spots where the camera movement is not very smooth, certainly a problem of the budget, etc., the cinematography is fresh and beautiful, very artistic. In fact, the focus on the senses and how the characters see and feel everything is one of the great strengths of this film, such as when the children are picking fruit in a cemetery and the wind picks up, blowing through the forest, or when their older cousin is loafing around at a fair.

There is no real "plot" with nothing to address and nothing in particular happening, etc., but that is not important here. The film does a great job at achieving its apparent purpose of presenting a thoughtful, sensitive, beautiful, even poetic image of these kids' normal experiences during a finite period of time.

The acting on the whole is very good. This is particularly true at the meal/fireside of the family in the woods, where the people roast maize/corn and children doze off listening to grandparents, parents, and cousin tell stories, argue, etc., in a very realistic manner that grips the viewer despite the slow pace and lack of any real event.

One of the main problems with the film is that there are some gaps or missing elements in the screenplay/development. An example is the introduction of the older cousin into the film in the first part. We see him, but have no idea who he is. how he relates to the two children, what he is doing there, etc. In fact, at first it almost seems like he is reminiscing and that the scenes of childhood are his memories. Similarly, the scenes of him at the fair are visually interesting and beautiful, but their value is hindered by the fact that the viewer has no idea what the point of this portion is, what is going on, or who this guy is. I found that this hampered the beginning and made it slightly confusing, so one didn't understand the value of it.

Another slight problem is that some shots seem to last a little too long for no real reason. This overall makes sense throughout the movie, considering its slow, dreamlike pace and emphasis on senses. However, sometimes, as when the camera sits on the kids' father as he thinks in the house near the end, it lasts too long without any apparent point artistically, etc. This is not too common, though.

In the end, this is a slightly flawed, but creative, contemplative, and beautiful film. It is not, however, a film for those demanding a real "plot" or action, etc.

Kasaba is the feature film debut of Nuri Bilge Ceylan. I think that movie is not one of the best films of Ceylan, not even in my top 5. But when I look at Kasaba, I can clearly see how great and skillful he is. That's a delightful piece of filmmaking.

Nuri Bilge Ceylan,the rising star of the Turkish cinema is surely a talent.I've been longing to see a movie by him for a long time.And this happened to be the first movie I found the opportunity to watch.This was one of those short(exactly 82 min)sweet movies about life.It has a bit of a traditional tissue in it.It's just like watching an American movie like "Garden State" or the "Station Agent". The plot and the setting is totally different but the feeling you got is similar.The movie is seen from the perspective of two kids in four somewhat interrelated scenes.In the first part we see a school environment in winter in which the kids are hailing out the national pledge in the cold school garden.We see the the family's 11 year old daughter as a pupil "facing with her feeling of shame and some merciless clues of life " in that scene this is obvious but what is more catching is that the teacher wants the students to read some part from a text-book about community-specifically the sense of belonging to a community-the need to belong to some social unit.The kids just read the passage without making sense of what is written there.You see Turkey revolutionized its alphabet from Arabic to Roman letters but basically there's still a "maktap literacy" going on in these traditional distant state schools.The kids do probably know something about human beings' social needs but they don't necessarily pay attention to the passage they're studying in theory. The second part is in spring. We see the girl with her 4 year younger brother, and their wandering towards the corn field where their family are waiting for them.They just drop in a graveyard to eat some plums.There is something inter-cultural here too.When her brother tries to reach the plums on the branch his sister says "Hey you're stomping at the grave" The adults in Anatolia scare their kids with a warning in such situations "Hey the dead will inhale you" This innocent tell-off results from the respect for the dead actually.This part has the least number of dialogs actually.While the siblings are discovering mysteries of nature they barely talk and the director turns his camera into nature.Even at one point he focuses on the eyes of a helpless donkey badgered by flies.In the third part the brother and sister arrive at the corn filed where the some sort of a bonfire is lit and the grandmother's are roasting maize cobs.The grandfather tells his experiences during the First World War, how he was taken prisoner by the British and sent to India, how he endured years of starvation. This is the nature of the old Anatolian man.Whenever they see a youngster they just think that they live in a tacky world so they tell how they suffered.While the grand-dad is such a spiritually mature man in consequence of his early sufferings the father of the kids is the only educated man in the family.He sort of had difficulties to educate himself he even taught himself foreign languages.But even though he is strong in analytical thought he has barely spiritual weltanschauung.He is a great admirer of Alexander and he tells about every war Alexander did wage.And then there is this cousin Saffet who is gritty nihilist."You worked all your life so what?" You just came back to the point where you started?"Even though he is coarse and ironic he is the most realistic one actually.The fourth part takes place at home.It ends with a placid river scene actually. As for the technical details.The movie is openly monochrome.The DVD details say the director wanted something simple so he used simple cameras and most of the cast are either his relatives or his acquaintances actually. At some points I thought there could have been more dialogs.Because while the second part has barely a flowing dialog the third part is inundated with dialogs.(The grandfather's war experiences and the father's Alexander admiration).Plus Nuri Bilge Ceylan's camera technique focusing on nature looks like Elem Klimov's strategy in Idi i smotri(Come and See)(1985).I had felt bored because of this lack of dialogs and excessiveness of such camera angles in Come and See. But since Kasaba is not that long it's better but if it were longer it would be definitely boring.All in all it was a good step for me to know Nuri Bilge Ceylan's art.

No need to talk about the story as there are many sentences around, this film is very good for me as long as i can see all from the eyes of the children, the rest, really i did not get any slightest feeling, the conversations are so poor that you do your best to stay concentrated & awake (especially if you watch it at night) actually i stopped watching it in the middle, but the next day i wanted to finish because i tried to persuade myself that i had watched it wrong :) the film is unique in Turkish cinema, and because of that i put it in a different place, i must congratulate NBC (the director) because of his serving that kind of out-of-line film in our history, but that cannot make it a good film alone... apart from my mostly negative comments above, the class scene (at the beginning where the boy enters class with snow all around his body and what happens after..) is very effective, i like it very much when i first saw the class scene on youtube, that i wanted to watch the film immediately, another thing is that i liked the dream scenes, so simple but so innocent, for my part, NBC has a very powerful photographer eye, but when you make all film full of that kind of scenes you make it rather slower and sometimes unavoidably boring, and he must definitely write more effective sentences, really they never grab me, its like a very beautiful and extraordinary girl but talking like my grandmom, to sum up the case, its a very extraordinary film but without something to go back and re-watch (except class scene)on the other hand i appreciate this film very much because it is not made for making money, otherwise it would have been less boring and probably NBC would have chosen some other cast out of his family members, he seems to made it for himself.

This movie tries to question the world that lies beyond the borders of our town. The story takes place in a town that is far away from the developed world. Also, the natural conditions make life harder. The characters of the movie are the members of a large family who live in this town. They come together for harvesting season and also they begin to talk about their lives. Nearly half of the movie passes by these conversations and discussions. These long discussions slows down the tempo of the movie but the town, conversations, the characters are so real.

I can tell you this movie with 3 words. natural, poetic and amateur.

A self motivated cinema volunteer Nuri Bilge Ceylan Shot Kasaba after his short film Cocoon (Koza)sounded successfully among Turkish Filmmakers. With a slow rhythm but not a routine, film takes you to a small town (kasaba). Photographic quality of the film is excellent. Script may have shortcomings but never mind with his full amateur crew Ceylan figured out a remarkable and promising vision for Turkish Cinema. Town deserved to be viewed...

Kasaba is carrying traces from the first movie of the Nuri Bilge Ceylan in cinematographic point of view and these traces are kind of signature of the Nuri Bilge Ceylan. Nevertheless, the use of sounds is too amateur and it is not satisfactory even for the first featured movie experience of a director.

However, the theme of and the amateur cast has very good harmony.

All the blueprints of what were to become the director's trademarks are present in this quiet contemplation about a small village in rural Turkey. It's a very beautiful film seen mainly through the eyes of children about a family that represents much of what happened in Turkey, it's history, culture and politics. As always with Nuri's films he explains this through long dialogues where the puzzle of the family dynamics are slowly but surely laid out.

The first scenes that take place in a classroom were the best scenes i think in the movie. Especially higly realistic atmosphere makes you feel that you are with the characters and you are like one of the characters. Animals and people are coherent with the mother nature and Ceylan shows us the most primitive way. Images are perfect but also dialogues are too. When i watch speeches in the woods at night took me to my childhood and i believe the parents talkings never change at any time. We understand from the parents boys do not please their life and this incompatibility feeling keeps going during the story.

The movie doesn't seem to have a plot, it's like a movie that's all about visuals, but visually, it's really great.

Nuri Bilge Ceylan is Turkey's most celebrated director. Previously, his 'Three Monkeys' and 'Once Upon a Time in Anatolia' were good, 'The Wild Pear Tree' better than good, and 'Winter Sleep' excellent.

'Kasaba' a.k.a. 'The Small Town' is, more precisely, about a rural village. It was Nuri's first production, in 1997, dedicated to his parents. Several of his family act in it, and he's director and cameraman. His genius was evident then.

It's poetry, beginning with a montage of scenes that deserve to be a photo book.

The latter half is mostly a family having a conversation around a fire.

There's no plot, more a lesson in life not being what we want, and that all we can do is go with its flow and survive. It was minimalistic and pretty, particularly the icy scenes that started it.

It is a film that attracts people with its dialogues and atmosphere. Nuri Bilge Ceylan's previous film "Koza" is a sequel film. Great shots and incredible dialogues and player performances! With one word, perfect! You don't understand how time passes. It's like you're sitting there.

⭐ 100/78

The first feature film of " Nuri Bilge Ceylan" is a personal film and the use of family factors, which we also see in his subsequent films. In this way, it can be said that the film is a family drama that the director made in his hometown. This drama, which has an attractive beginning, is seen from a child's point of view, and this point of view takes a path from the world of childhood to adulthood. The film is black and white and a light shine from the heart of a gray and black world and talks about hope for life and faith. The film is eternal and from this deep timelessness with a dreamy and imaginative atmosphere it reaches the complexity of human life and makes the audience infer emotions. Although in the middle of the film, it turns into dialogue-oriented sequences and becomes heavy, but the atmosphere created in the film is so impressive and appreciable that you will easily forget this temporary stretch.