The Wild Pear Tree

Ceylan expertly draws your eye and ear to the drama behind the drama, and gives the most gently naturalistic scenes the weight and grain of visions. The word visionary has been flogged by the film business to the point of redundancy, but with The Wild Pear Tree, Ceylan reminds us he has earned every letter of it.

At three hours without much obvious plot, the movie is, no doubt, a bit of a butt-number, though there’s enough wry humour, visual delight, and psychological insight here to more than reward an open-minded viewer.

Ceylan delivers what might be his funniest, most politically poignant work yet. It also happens to be achingly personal.

Nuri Bilge Ceylan’s film takes a leisurely approach to narrative that’s both intensely dialogical and transfixingly visual.

The unapologetic, sometimes heavy-handed literariness of The Wild Pear Tree is leavened by hints of grim comedy and sharp, if subtle, social criticism.

You find yourself gradually engulfed, as if by rising waters, and it seems only fair to report that The Wild Pear Tree lasts for more than three hours.

In his 2014 Palme d’Or winner, Ceylan unpacked thorny issues of ethics and morality with a surgeon’s steady patience; he employs a similar approach here, only the territory is much less fertile.

The adventure of a young man with dreams and his family trying to get rid of the countryside. The acting is successful. The cinematography is impressive. Diologists are intriguing. The messages he gave were excellent It is definitely one of the most successful Turkish productions I have ever seen.

This is kind of cinema that in Middle East has so much fans, Because lots of lives there are much like what shown in this masterpiece movie from the GREAT Ceylan. Absolutely MUST WATCH for everyone that wants to know a little about how to live in Middle East countries.

A surprisingly realistic depiction of Çanakkale, and portrayal of a moment-by-moment despair of the self-confidence and spirit in young adulthood. However, certain parts of the film truly made me question whether or not they were scened because they are relevant and valuable to Nuri Bilge Ceylan in a sentimental sense because of him being born and raised in Çanakkale.

An art-house drama that is highly autobiographical, requiring knowledge of NBC's life and filmography to notice the nuances.

"If you love what you do, you can survive anywhere." . ( #20/100 ) . Después de ver la nueva película de Nuri Bilge Ceylan, "Ahlat Agaci" (Official Selection Cannes 2018), me decepcioné y molesté con lo que la gente hace con el cine a veces. El mérito que la gente le da a la película se encuentra en el dialogo, el cual conforma todo el proyecto. Pero mientras unos ven una extensa e importante conversación que revela la angustia existencial hacia los valores y acciones tomadas por los varios "roles" que conforman a la misma cultura que afecta y forma al individuo, yo veo una fallida intención de explicar la serie de posturas indefinidas que conforman a la cultura ignorante y vacía con la que luchará la voluntad de un sujeto igualmente confundido y que, al final, el mayor atributo de su viaje es que "aprendió" que "solo sabe que no sabe nada". Hay certeza en la existencia y se basa en la información, pero si lo sustituimos por una sutil y pesada intención de convicción, entonces no habrá resolución. "The Wild Pear Tree" ignora eso y se convierte en una conversación sin argumentos, conceptos definidos, acuerdos o conclusiones, que le da permiso a sus personajes de defender una postura poco informada y muy sesgada que simplemente se deja a la deriva de la atención de la gente con poco habito de reflexión. Visualmente no existe una menor intención de poética y congruencia entre tomas. Hay drásticos cambios de calidad de imagen que se pueden ver entre cortes, una falta de cuidado en la corrección de color o, mínimo, mostrar el panorama de la historia de forma sensible. Las actuaciones simplemente se encargan de conversar con elocuencia el dialogo que representan. La intensidad dramática solo se presenta en 3 min. de las 3 horas que la película hace soportar a su público. El cine no solo puede ser más que un vórtice de incertidumbre mal producido, sino que también tiene que promover el valor de la voz y el propósito; no de voces ignorantes e intenciones incompletas cuya resolución sea la rendición. - After seeing the new #movie of Nuri Bilge Ceylan, “Ahlat Agaci” (Official Selection in Cannes 2018) I got disappointed and mad with what people makes with cinema sometimes. The achievement that people gives to the film it’s found in the dialog, which builds up all the project. But when some see an extensive and important conversation that reveals the existential anguish towards the values and actions taken by the several “roles” that conform the same culture that affects and forms the individual, I see a failed intention of explaining the different undefined postures that conforms the ignorant and empty culture with which the will of one subject, equally confused, will fight so, at the end, the major attribute of his journey is that he “learned” that “he only knows he doesn’t know anything”. There is certainty in the existence, and it’s based in information, but if we substitute it with a subtle and heavy intention of conviction, then there will be no resolution. “The Wild Pear Tree” ignores that and becomes a conversation with no arguments, defined concepts, agreements or conclusions, that permits its characters to defend a poorly informed and very biased posture that ends up adrift to the attention of people with little reflective habits. Visually there’s not a minor intention of poetic or congruence among the takes. There are drastic changes of quality in the image between cuts, a lack of care in the color correction or, at least, in showing the landscape in a sensible form. The acting simply is responsible of making an eloquent conversation with the scrip that they represent. The dramatic intensity it’s only shown in 3 min. out of 3 hours in which the movie makes it’s public to sit through. Cinema can’t just be more than a vortex of uncertainty badly produced, but it can also promote the value of voice and porpoise; not of ignorant voices and incomplete intentions which resolution is rendition.