Bes vakit 2006

Maureen M. Hart, Chicago Tribune: Erdem's script and his young cast do a fine job of recalling the years between carefree childhood (embodied by Omer's brother, the precocious and adorable Ali) and adult power and duties. Read more

Bilge Ebiri, New York Magazine/Vulture: An immersive meditation on the unsettling power of nature, creating a world in which its human characters are but one link in a tangled natural order. Read more

Jonathan Rosenbaum, Chicago Reader: This 2006 feature works better in terms of mood than storytelling. Read more

Joe Morgenstern, Wall Street Journal: It's a work of singular beauty. Read more

Tom Keogh, Seattle Times: Subtly unsettling yet fascinating. Read more

Janice Page, Boston Globe: At nearly two hours, the film seems overlong. And despite natural, sometimes gripping performances from a cast led by nonprofessional child actors, the script's unrelenting cynicism can wear on a viewer. Read more

Gary Goldstein, Los Angeles Times: Though modestly plotted and deliberately paced, Times and Winds is a hypnotic look at life in a remote village on Turkey's northwest coast. Read more

Robert Koehler, L.A. Weekly: Unexpected events in the scenario suddenly reposition the film as a humanist-pastoral epic in the tradition of Pudovkin. Read more

Jan Stuart, Newsday: Reha Erdem's ineffably beautiful portrait of a rural Turkish village. Read more

V.A. Musetto, New York Post: Let us give thanks for the small pleasures of life. The Turkish movie Times and Winds, for example. Read more

Andrew O'Hehir, Salon.com: From the first frames of Times and Winds I felt completely captivated, and that Erdem's shots of curtains blowing in a window, or three men having an argument in a field, have a hypnotic power that's not easily summarized. Read more

Bill Stamets, Chicago Sun-Times: A blunt look at how anger binds generations. Read more

Ben Kenigsberg, Time Out: Read more

David Fear, Time Out: At best, the random, endless Steadicam shots set to Arvo Part symphonies suggest he's boned up on his Tarr and Tarkovsky; at worst, they're examples of an empty formalism that adds nothing and mistakes showing off for significance. Read more

Wally Hammond, Time Out: Buried in leaves or hugging the rocks, they could be in ecstatic communion or fusing with the natural world. More likely, Erdem's marvellous film sees them as bridging the divide between heaven and earth. Read more

Derek Elley, Variety: A hypnotic portrait of village life -- largely through the eyes of three youngsters -- that packs a poetic-spiritual punch way beyond its placid surface. Read more

Ed Gonzalez, Village Voice: [Director] Erdem's vignettes can be trenchant, as in the amusing scenes of boys and girls responding differently to animals bumping uglies -- evocations of how society determines sexual roles at an early age. Read more