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A brilliant film that helped define a genre

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

One of the worst ways to make a cult movie is to set out to make a cult movie.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

In Turkey, the middle-age University Professor Isa (Nuri Bilge Ceylan) and his younger wife Bahar (Ebru Ceylan), who works in television, are spending summer vacation in Kas. After a couple of days, Isa decides to separate from Bahar since they do not communicate with each other. Bahar returns to Istanbul alone and then she travels to the countryside to work in a new project. Meanwhile Isa meets his former lover Serap (Nazan Kirilmis) with his friend Guven (Can Ozbatur) and later he rapes her in her house. Then he travels to meet Bahar and propose her to move in together again. What will be her decision?"Iklimler", a.k.a. "Climates", is a boring and overrated Franco Turkish romance. The pace is too slow and the lead couple shows no chemistry and charisma. However the cinematography and landscapes are stunning. Despite the hype, this film is annoying and pointless. My vote is four.Title (Brazil): "Climas" ("Climates")

The middle-aged university teacher has an affair with a younger girl. They are not happy and he acts on the edge of brutality. It all ends, but none of them seem to want that.The camera often stands still and the acting is made mostly by the eyes. It's clever made, a different way of narrating and full of drama.But is this drama through miming and slow-talk enough? It can be, but not really in the hands, or eyes, of these actors. But the task has also been extremely difficult. It takes very much to go through with this. But the film-makers come close. Really close, but anyway, it's all a little rhapsodic.

After reading the score in IMDb I decided to see the movie. The story between Ceylan his wife and the "usual" third girl is dragged for almost two hours without a real path. I have to say the movie is definitely BORING, the screenplay is weak. Too much product placement for a "non" commercial movie. Actors (although non pro) are not acting at all...not worth the time. Ceylan you are not Antonioni, at least not yet. There is a long way to go, and you should ask yourself if you want to be a director, a producer, an actor, or just make money or just have fun. After you've found your true talent we are going to enjoy the product of your work, for the time been I won't watch another movie with the same cast.

A self-indulgent art movie about the break-up of a marriage written and directed by the Turkish director Nuri Bilge Ceylan in which he stars as the husband and his real-life wife Ebru Ceylan appears as the wife who leaves him. Is it therapy or a home-movie for the art house crowd? Or is it an incisive analysis of the things that divide men and women and of how love can come to an end? It improves in the memory if you can divorce yourself from the incestuous feeling that it's just a bit too much like self-abuse and it's certainly bleak enough not to be likable. Likability isn't something Ceylan aspires to. Whether he is 'acting' or playing 'himself' he comes across as a crass egocentric bore; your sympathies lie with the wife, (though initially she, too, seems something of a harridan, her actions at best irrational if not vindicative).The separation occurs reasonably early in the film and then we spend too much time with the self-pitying husband as he tries to figure out his wife's actions. In the meantime he is not above a bit of screwing around himself, cuckolding an old friend. This is a warts-and-all portrait of a marriage, as rough as Strindberg or Albee, and yet it still feels like a vanity project. Woody Allen's movies may be shamelessly autobiographical, certainly in their milieu if not precisely in the literal sense, but Allen is a comic genius who can find humour and absurdity in even the most painful of situations. I worry when a film-maker chooses a subject as obviously close to his heart as this one and then films it with himself as the central character as if it was an observation of 'real life'.On a technical level it is quite masterly with Gokhan Tiryaki's camera luminously observing, often in extreme close-up, the slow and painful death of this relationship and in locations that are far from attractive. This is the first of Ceylan's films that I have seen and their is no doubting his virtuosity. I just wish he had put it to better purpose.