Emin Toprak, Fatma Ceylan, Feridun Koc, Mehmet Emin Toprak, Muzaffer Ozdemir ...( see more  see more... ) , Nazan Kirilmis , Zuhal Gencer

A drama set in Istanbul revolving around the relationship between a melancholic and obsessive middle-aged photographer named Mahmut and his cousin, Yusuf, an unemployed country boy who comes to Istanb...( read more  read more... )ul to find a job on a ship.

Flixster Users

83% liked it

4,436 ratings

Critics

89% liked it

44 critics

Unrated, 1 hr. 50 min.

Directed by: Nuri Bilge Ceylan

Release Date: March 12, 2004

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DVD Release Date: March 22, 2005

Stats: 238 reviews

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Flixster Reviews (238)


  • September 30, 2009
    Melancholic yes and the story will not be to everyone?s taste but Uzak is a visual treat, it is the most beautifully shot film I have ever seen!
  • August 26, 2006
    Just PERFECT! This film "caught" me at a very particular time of my life and just blew me away! It's just so easy to relate to those caracters... 5*!
  • December 25, 2009
    (The first paragraph will be in English,second one will be Turkish)

    I havent seen a movie which has more natural acting and dialogs than "Distant".But i know why.Because director,Nuri Bilge Ceylan is one of the smartest directors in the world.He had used his own house ...( read more)and car for this movie.And he wanted to shoot it somewhere different.But when he woke up and see it is snowy in Istanbul.He changed his mind and shoot this great scened movie in Istanbul.So the movie is natural cause he isnt in the unknown place.And he has picked the best actors for their roles.Thats why the actors get Cannes Award.They werent playing a much different person too.But the reason that i gave it 4.5 stars is:the story isnt strong as i though.But director's telling makes movie much more better and strong.And the suitable word "Natural" for this movie.





    Ah ?u Nuri Bilge Ceylan ya da Fatih Akin gibileri olmasa sinema dünyas? bizi nasil taniyacakti acaba?Recep Ivedikle taniyacak deiller herhalde.Gercekten su son yillarda Sinemam?z cigirindan cikti.Fazla say?da kalitesiz filmler bizi bir yere götürmez bence.Yani bize bu gibi yönetmenler lazim.Ama neyse bizim yapabilecegimiz tek sey kendimizi bu yönetmenler gibi yeti?tirmek.Yukar?da N.B. Ceylan için dünyan?n en akilli yönetmenlerinden dedim.Çünkü do?ru oyuncular? seçmi? hem güzel bir senaryo yazm?? hem film icin do?ru yeri seçmi? (Az daha Istanbul'da cekmeyecekmis) hem de hep kendi e?yalar?n? kullanm??.Bu kadar akilli olmanin ödüllerini de hayli alm??,Aferim.Ayr?ca filmin bu kadar etkileyici olmas?n?n diger nedeni de oyuncular.Gerçekten daha dogal oynanamazd? roller.Ne abart? var ne de hata.Oyunculuk mükemmel.Öykünün de entel-tasrali ayrimi hakkinda söyledigi cok sey oldugu icin 5 yildiz verip en iyiler listeme yerlestiriyorum.
  • September 11, 2009
    WEB-LETTERBOX. Bastante circular en su quietud. Dice mucho con detalles pequeños, lo cual convierte en sutil tanto su estilo como su resonancia. / Quite circular in its quietness. It says a lot with small details, which renders subtle its style as well as its resonance.
  • August 2, 2009
    A film about isolation. Not much happens and not much is said, but it's still an absorbing watch.
  • July 14, 2009
    An impassive man, statically framed in nearly imperceptible long shot slowly, and laboredly, traverses an untreaded, snow-covered open field carrying a duffle bag until he emerges in near frontal medium shot on the other side of the clearing towards a deserted rural road. It is a...( read more)n unhurried, deliberative image that recalls the extended final sequence of Abbas Kiarostami's Through the Olive Trees as the romantically thwarted hero makes his way down the side of a hill to the area where an off-camera director has been surreptitiously observing him as he pursued the reluctant objective of his affection. The understated introductory image proves to be the first of several referential cues that filmmaker would incorporate to tell the deceptively simple, yet acutely observed story of a displaced laborer from the province, Yusuf (Emin Toprak), who, laid off from his factory job and unable to find new employment in his economically depressed village, decides to board a bus bound for Istanbul and arranges to stay at the home of his urbanite cousin, a successful and cosmopolitan art photographer named Mahmut (Muzaffer Özdemir), as he scouts the city for job opportunities in the hopes of being able to send money home to his aging (and equally destitute) parents and to lead what he perceives to be an exotic life as a global traveling freight ship worker (and perhaps more importantly, to permanently leave his bucolic, insular village). It is a visit that, however polite and cordial, begins to betray traces of Mahmut's character as well, as Yusuf soon finds that he is locked out of his cousin's apartment and is forced to wait at the front lobby while the preoccupied Mahmut, having forgotten Yusuf's planned arrival, stays out into the late evening. Forced into accommodating a reluctant intrusion into his personal space, the intensely private and self-consumed Mahmut grows increasingly resentful and impatient over his aimless and naïve cousin's underformed plans and passivity towards the execution of his seemingly half-hearted (and invariably fruitless) job search - a frustration that irreparably escalates when Mahmut returns from a visit with his hospitalized mother (Fatma Ceylan) to find that Yusuf had indifferently violated a series of his seemingly innocuous, pre-defined house rules during his brief absence.

    Distant is an elegantly realized, pensive, and hauntingly lucid exposition on the nature of rootlessness, estrangement, and solitude. From the allusive opening sequence of Yusuf's unhurried ascent onto a hillside road captured from the static camera, Nuri Bilge Ceylan creates a meditative - and refreshingly self-effacing - composition of distilled, concentrated imagery, narrative economy, and reverent paean to deliberately paced cinema. Ceylan's allusions to Andrei Tarkovsky (both directly through a conversation with friends, and indirectly, through excerpts of Stalker and Mirror on television) serve to illustrate Mahmut's innate understanding of the need (though not necessarily the willingness) for artistic and personal compromise. The evocative use of the melancholic theme from Theo Angelopoulos' Landscape in the Mist (as Yusuf rides a streetcar through a shopping district) reinforces the film's similar exploration into the themes of parental disconnection, profound isolation, and existential angst. Even the intrinsic, understated humor that pervades the film becomes a vehicle for a quaint homage in a scene reminiscent of Darezhan Omirbaev's Kaïrat as the timid, introverted hero casually, but deliberately, brushes against an attractive young woman on a public bus. In the end, it is this acceptance of humility, thoughtful sense of place, and embrace of human idiosyncracy that is reflected in Mahmut's early winter morning reverie on a park overlook as uniformly indistinguishable cargo ships navigate through the harbor - an observant reflection of the quiet, unarticulated desolation of self-imposed alienation, adriftness, and emotional transience - a longing to experience the familiar against a tranquil sea of faceless, disconnected anonymity.
  • March 29, 2009
    Weird, weird ass film lol But in it's defence... amazingly memorable lol
  • January 2, 2009
    Beautiful Melancholy. This film explores existentialism and the isolation of living secluded in a big city, while being ravaged by immense regret. This film explores human emotion with brilliant performances and take is audience deep into the dark and Distant world of Mahmut. A m...( read more)an who has lost all faith in life and his craft. It's no wonder it won at Cannes.
  • December 7, 2008
    fotografc?l?k alan?nda da cok basar?l? bir isim
  • August 25, 2008
    Freddo e di una lentezza spietata. Gli spunti di riflessione non mancano: due uomini, Mahmut e suo cugino, con personalità apparentemente diverse, scopriranno di non essere così lontani l'uno dall'altro. Bella la fotografia, estremamente malinconico tutto il resto.

Critic Reviews


May 6, 2004
Colin Covert, The Minneapolis Star Tribune

The film possesses a view of the human condition nearly as stark and clear-eyed as its stunning cinematography, which paints Istanbul's domes and minarets and rural Anatolia's breathtaking landscapes ... full review

April 9, 2004
Roger Ebert, Chicago Sun-Times

The film takes place in Turkey, but its dynamic could be transplanted anywhere -- maybe to our own families. full review

March 25, 2004
Liam Lacey, Globe and Mail

A doleful Turkish masterpiece. full review

View more Uzak (Distant) reviews at RottenTomatoes.com

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