10th New York Turkish Film Festival - RIZA
CONTEMPORARY TURKISH CINEMA
In Riza, Tayfun Pirselimoglu tells the tragic story of a truck driver working between Istanbul and Adana. Once his truck breaks down, Rza finds himself in financial trouble, unable to pay his debt. Looking for ways to make money during these desperate days, Rza lives in a gloomy hotel with an unusual group of restless yet hopeful people searching for ways to change their lives. After crossing paths with Aysel, a love interest he abandoned following a troubled affair a few years back, Rza commits an awful crime in hopes of getting himself out of debt.
FESTIVALS & AWARDS
2007 Mediterranean Montpellier Film Festival (France): Critics Award
2007 Berlin International Film Festival: Forum of New Cinema
2007 Ankara International Film Festival (Turkey): Best Film, Best Director, Best Art Director, Jury Special Prize
2007 Antalya Golden Orange Film Festival
2007 Montreal World Film Festival (Canada)
2007 Sydney Film Festival (Australia)
2007 Montpellier Mediterranean Film Festival (France)
FROM THE PRESS
A Dostoevsky-like atmosphere of doom and gloom hangs heavy over a truck driver pushed to commit a terrible crime and then shaken by remorse in Tayfun Pirselimoglu's sober but occasionally intriguing second feature, "Riza." Much like the director's first effort, Innowhereland," in its painstakingly composed images and somewhat labored artiness, "Riza" is, like the earlier picture, rescued by an electrifying female performance, this time from Nurcan Eren. (...) Pirselimoglu, a novelist as well as a painter, communicates great empathy for his characters even in their lowest moments. The horrendous crime Riza commits, for example, springs from a carefully described social context, leaving audiences in limbo about how to judge him. Spare dialogue leaves a great deal to the expressiveness of the actors. Akn's stony gray face, not appealing at first glance, is capable of surprising subtleties as the film progresses. Eren injects a full range of mixed emotions into the female role. She has clearly been hurt by this man in the past and is anything but happy to see him back, but the very vehemence of her reaction suggests there's still a spark among the emotional ashes. Slow, regular pace gives viewers plenty of time to slip into d.p. Colin Mounier's desaturated, painterly colors and expressive framing.
Deborah Young. Riza. Variety.com, March 19, 2007.
Anthology Film Archives
32 Second Ave. (at 2nd St.)
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