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Good concept, poorly executed.

The film makes a home in your brain and the only cure is to see it again.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

As a big fan of Nuri Ceylan, my expectations of this movie was very high. However, it had too many unnecessary conversations from the beginning to the end. I felt really boring and I could not find any scenes to watch. All I can say is that I was very disappointed with it. And it is not worth to spend your time and money.

Too long .The discussion on islam between 2 imams is boring .for me Winter Sleep was much better .

Perfect acting, funny dialogues, slow but intense. I could have continued to watch for 3 more hours.

It has been 21 years since Ceylan shot his first feature film Kasaba, whose main theme was an intellectual young man's desperate, family-stuck life in the countryside with no way out. After this film throughout his film career he focused on different themes as well of course, from middle class criticism (Climates) to film noir (Three Monkeys). But, being from Turkey, eventually in his last movies he returned to the countryside tales again. Especially this movie, The Wild Pear Tree, seemed to me as if Ceylan suffered from a partial amnesia and forgot that he shot the movie Kasaba. So he blended this "brand new film idea" with his recently developed film aesthetics and here we have The Wild Pear Tree.In his first movies Ceylan barely had a story, he only had "themes". The rest of the movie was wonderful photography and this is what he got famous for. Then, founding clever collaborations, he learnt how to tell stories as well. But the question here is: does he really have a new story to tell? Turkey has changed a lot since Kasaba, but Ceylan's representations look like they are here to stay eternally. For instance, while Ceylan still hold on to the "intellectual stuck in the countryside" stereotype, intellectuals in the Turkish countryside either made it to the metropolises or they are replaced/outdated by the emerging religious elite.So instead of telling a new story, Ceylan seems like he chose to "garnish" what he already has, with neverending dialogues unattached to each other. Dialogue with the girl, dialogue with the mayor, with the businessman, with the writer, with the police friend, with the imams and with this and this and this. Kind of a video game, one "countryside monster" at a time. So I think this movie is a rococo remake of minimalist Kasaba.So if you tolerate the theatrical lines in the first dialogues, the movie is a nice one to see. But in comparison to the last 2 movies of Ceylan, this is certainly a step backwards (and surprisingly, this backwardness is evident also in the photography).