qui è in Turchia, negli anni dopo la caduta del Muro, e si viaggia anche oltre il confine, nell'ex Urss, e tutto si può vendere e comprare.
lo stato non esiste, le persone in divisa sono corrotte, c'è solo la legge del più forte, i due attori principali, entrambi turchi, sono bravissimi, il protagonista e lo zio, una spalla formidabile.
contrabbando, medicine, tutto è commercio e ogni contrattazione è una partita a poker.
un film che non delude, anzi è proprio bello - Ismaele
... Attraverso questo
antieroe roso dal senso di colpa, l'ultimo film di Ben Hopkins esplora
l'universo elettrizzante del commercio, con le sue regole aleatorie, i suoi
rischi e i suoi imprevisti. Nonostante la sua sete di denaro, Mihram è
ossessionto da un codice morale proveniente in parte dalla sua educazione
musulmana. The Market - A Tale of Trade (Pazar
- bir ticaret masali) si interroga senza dare risposte sui rapporti
conflittuali tra commercio ed etica, e sulla loro ipotetica compatibilità.
Questa favola moderna piena di humor e poesia è interpretata principalmente da
attori turchi ed è stata girata in Turchia con una troupe cosmopolita - una
pratica originale che il regista britannico predilige.
"The Market" is set and filmed in eastern Turkey and
Azerbaijan, a part of the world most Americans and Brits have never given a
moment's thought. Films in these settings are always interesting, as they
provide a little glance into a world most of us had not previously been aware
of. What Ben Hopkins – a Brit who has built his film career in the
less-explored settings – has made is a small social commentary on capitalism's
impact on how people interact with each other. Despite the freshness of its
setting, the film's main ideas are pretty used goods…
… His
ingenious yet impotent attempts to improve his lot make him an everyman in a
globalised economy, so that, for better or worse, his negotiations with the
world are ours too. We might feel distant from Mihram both geographically and
culturally, but when we witness his self-delusion and naïveté in the face of
irresistible market forces that he imagines he can control, we are really only
looking in the mirror.
Like
any bazaar, The Market has something for everybody. There is the cynical satire
of the scenes in which Mihram goes about his business, and the escalating
suspense of the bargaining episodes, each one with higher stakes than the last.
There is the comedy of Mihram's relationship with Fazil, and the tragedy of his
inevitable lapse into crime and debt. There is the local colour of Mihram's
immediate environment, and the universal dimension of his travails. Hopkins,
aided by an excellent cast, handles this all with assured deftness, offering an
entertaining film with a great deal of substance to it, and a devastating sting
in its tail.
… As is
always the way with these things – and in society as a whole, the film seems to
be saying – the deal goes wrong. Mihram has a tense ride through the border,
and the deal with the factory nearly goes under. Unable to resist a game of
cards he stakes the medicine money, then his uncle’s connection at the hospital
lets him down. Can he leave without the vital supplies? And is he doing it for
the children, as his wife believes, or for his own profit?
It’s a beautifully played and paced drama, with
moments of almost unbearable tension – the card game in particular is seared
with peril, yet it works because of the hugely sympathetic performances.
Ayaydin in particular gives a nuanced portrayal of a man trying to keep his
family alive and survive in an increasingly hostile and baffling world – he’s
not particularly smart or brave, but on his side we certainly are. It’s no
Wal-Mart or Capitalism: A Love Story but it certainly works as both a drama and
satire on how we are all going to make a living…
… You can enjoy The
Market on many
levels: excellent acting by unknown (in the West, anyway) new faces; a feel for
life in those indeterminate border zones where rules are something for the
books; an allegory for how all of our lives are influenced by "market
forces." Ben Hopkins' "Director's Statement" is definitely
worth reading, as it traces how he came to write the screenplay "that
dealt with my conflicting feelings about capitalism - my admiration for its
creativity and innovation, and my cynicism that it can ever deliver its
benefits without inequality and exploitation…
Cribbio, io non riesco a digerire il cinema turco. Bombus, quello di impervie visioni, ne parla sempre molto bene, ma a me mette l'angoscia. Hai visto Our grand dispair? Come cribbio si fa a proseguire dopo i primi minuti di lutto, pianti, rammarico? A quanto pare, però, è fondamentale (e parecchio interessante), specie vedendo quello che ne dici e riporti.
RispondiEliminail regista è Ben Hopkins (http://markx7.blogspot.it/2013/03/the-nine-lives-of-tomas-katz-ben-hopkins.html) e ambienta il film in Turchia e zone limitrofe, una storia così non poteva essere ambientata a Londra.
RispondiElimina"Our grand dispair" non l'ho visto, e non mi ispira tanto, ma il cinema turco ha molte cose buone, prova qui (http://markx7.blogspot.it/2013/01/nefes-vatan-sagolsun-breath-levent.html), qui (http://markx7.blogspot.it/2012/07/cera-una-volta-in-anatolia-nuri-bilge.html) e qui (http://markx7.blogspot.it/2013/02/iklimler-il-piacere-e-lamore-nuri-bilge.html), mi dirai se la digestione non migliora:)