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Kor (2016)

When her husband Cemal is arrested in Romania, Emine is left alone with their child who needs immediate surgery. She takes a job as a needle worker at a garment workshop where she comes ... See full summary »

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Cast

Cast overview:
Aslihan Gürbüz ...
Caner Cindoruk ...
Taner Birsel ...
Istar Gokseven ...
Çaglar Çorumlu ...
Aslan
Talha Yayikci ...
Dolunay Soysert ...
Zuhal
Berat Özdemir ...
...
Muhasebevi
Deniz Keresteci
Apo Demirkubuz ...
Tamirci
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Storyline

When her husband Cemal is arrested in Romania, Emine is left alone with their child who needs immediate surgery. She takes a job as a needle worker at a garment workshop where she comes across Ziya, her husband's former boss. He can't stay indifferent when he learns what the woman he once fancied is going through. When Cemal returns months later, he finds Emine working at the garment workshop and their son healthy. A hospital bill he accidentally sees reveals that Ziya has paid for the surgery and Emine hid this fact. Will Cemal, who already blames Ziya for what he went through and is extremely jealous of Emine, be able to confront this situation or choose to ignore it?

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Genres:

Drama

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Release Date:

13 April 2016 (Turkey)  »

Also Known As:

Ember  »

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Budget:

TRL 500 (estimated)
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Aspect Ratio:

2.39:1
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User Reviews

 
Human condition predicament
18 March 2017 | by See all my reviews

Kor utilizes the traditional love triangle that is often used in soap operas and melodramas, to twist it or dress it if you like with an existentialist cloak.The major themes are moral ambiguity, alienation and lack of communication in the context of an anonymous and indifferent Cityscape.Emine and Ziya are not sure about the terms of their relationship, their perspectives seem to change due to the moral rules of society.Values like family and subordination of female to male are voiced but not followed.Cemal himself shares the same moral ambiguity, although his pride is hurt and beats his wife, he don't ask for a divorce and continues to work in the workshop of the fornicator Ziya.Dialogues between the three protagonists are sparse and many times inconclusive high lightened sometimes by lengthy pauses of silence.Demirkubuz frames his characters in enclosed spaces with oblique camera angles to emphasize their entrapment that is physical and psychological.Although the first part of the film is mostly focused to Emine who is divided as a love object and as a loyal spouse, slowly the film shifts to Cemal's predicament.Again we don't witness some clear action, he becomes distant and self absorbed working overtimes being unable to express his emotions with words.Fate seems to resolve the conflict with the accident of Niyaz, but there is no resolution between the two spouses and their distance is unabridged.Someone can to think that Demirkubuz is distrustful of language as a vehicle of communication, his subjects are trapped and unable to change the course of events. History seems to be a force that crushes them with no explanation.This is a typical Existentialist view of the human condition and Demirkubuz apply it in his film vocabulary with static shots in tight spaces, frames that separate the characters, blurry Cityscapes etc.Demirkubuz seems to be a person with few ideas but he refined them through the course of time in his filmography and has developed a film language that is distinctively his own.That is not a small achievement and he deserves praise and respect, he brings a literary sensibility in his films that maybe are sometimes a bit pedantic but always thought provoking.


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