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Too much of everything

Surprisingly incoherent and boring

How sad is this?

Excellent adaptation.

imaging the excellent lover in heart with the help of eyes... Halil imagines the purity of lover to the photograph. he loves the woman who is in his mind. when Meral -the real love- catches him whenever he looks her photo, falls in love, too. but there's a problem with Halil. he really loves her, but he puts on her a excellent lover profile, so can't want to reach her.

10/10. I admit I'm no Turkish cinema expert since they only cover 2,4% of all movies I've seen. I could easily say Nordic movies which covers more than 10% in my list, have better concerns for my cinema cause. Having these fun-facts, I'd never imagine a Turkish director would be the person who shot the closest thing as in Ingmar Bergman's style. Another fact: Persona: 66', Sevmek Zamanı:65'The difference between "cold/liberal Northern European culture" and "a culture which is heavily exposed agitated stories of arabesque style" referred to Turkish people might have seem major. But not in this surreal movie composed by the beautiful elements of experimental cinema and Rembet music. Great camera-work definitely helps Sevmek Zamanı to create a category in my taste as the most beautiful cult movie of my homelands

This is the best Turkish film I have ever seen even though it was filmed in 1965. The film stories a man who fell in love with a picture of a woman. The man represents eastern understanding of love which desires not to be with his lover. Because he is afraid if the lover is different than his dreams and his love itself gives a great pleasure to him, not the lover, this pleasure makes him a lover. Our female character Meral is a typical western woman with her relationship with her friends musical preferences etc... Love of this two characters lets us to analyze both of the cultures. Beautiful view of 1960's Istanbul makes you feel the heavenly atmosphere.

Erksan's Sevmek Zamani expresses its story in a two-folded plane.First, a strict realism in the search for specific (but global at the same time) identity problem of Turkish people is investigated: Occident or Orient, the chaotic battle of these two different identity-construction choices. Second, through this separation, the movie shows us two perceptions of LOVE: An urbanized, modern female singer(Sema Ozcan) wanting to be with the guy (Musfik Kenter)who is in love with her poster on the one hand. On the other, the (Oriental) guy refusing this famous singer. The guy says:"I'm in love only and only with your poster". The fetish and the sublime! That Love turns to be some kind of Sufistic way of perceiving the world. The Magnificient scene of boat-tripping with the poster must be seen!