User reviews

Once again, N. B. Ceylan has presented a magnificent gift to his audience and all cinema-lovers.

Ceylan, successfully following some essential footsteps of his former movies "Winter Sleep" and "The Wild Peer Tree", portraits the crises of restricted lives of (dazzlingly perfomed) characters feeling stuck in a provincial region of Turkey. It is even possible to call these movies a trilogy on masculinity, conflicts of intellectual class, "banality of evil" (as Hannah Arendt calls) and anti-heroes stuck in provincial stability, seeking for so-called "a better life elsewhere."

Regarding the visual narration of the movie, it is obvious that Ceylan has embraced a number of innovation on designing the visual aspects of the story; moving cameras, short-cuts for dialogue scenes etc. Nevertheless, the movie also preserves the beauty of Ceylan's well-known photographic cinema language.

Still, "Onca Upon A Time in Anatolia", among the works of N. B. Ceylan, is a cinematic top to me. And surely it is an extemely high bar for not only Turkish cinema. In this context, it may be asserted that "About Dry Grasses" could have easily been called a masterpiece if it belonged to any other director.

While watching the movie "About Dry Grasses," I didn't realize how quickly the 3 hours and 17 minutes passed. Nuri Bilge Ceylan's films seem to peel off humans layer by layer. They present the weakest, darkest aspects of humanity to the audience. While watching the movie and after it, you find yourself in a confrontation with yourself. The situation is the same in this film. The lead actors, Deniz Celiloglu (Samet), Merve Dizdar (Nuray), and Musab Ekici (Kenan) deliver a wonderful performance. Indeed, Merve Dizdar won the award for best actress at Cannes for this film.

The film revolves around a teacher, Samet, whose career is endangered by a sexual abuse accusation from his student, Sevim. Samet, portrayed by Deniz Celiloglu, is a complex character who is bored with his life and longs for a posting to Istanbul. His interactions with his fellow teacher Kenan and a woman named Nuray play a significant role in exploring themes of friendship, competition, and disillusionment. The characters are depicted with a high degree of complexity, adding depth to the overall narrative and theme of the film. The long duration of the film allows for an in-depth exploration of the characters, making it a reflective journey among the complexities of human relationships and moral dilemmas.

"About Dry Grasses" is a thought-provoking and absorbing drama that delves into the depths of the human soul, exploring the moral complexities and multifaceted nature of human relationships. Nuri Bilge Ceylan's distinctive directing style and the impressive performances of the cast create a cinematic masterpiece that is enlightening both visually and intellectually. The comprehensive and detailed narration of the film, combined with its literary quality, makes it a must-watch for lovers of auteur cinema.

Probably Nuri Bilge Ceylan's movie with the most dialog. If you don't mind spending three and a half hours sitting, you will watch it with interest. The acting is incredibly successful. Deniz Cellioglu's acting as Samet is incredible. Merve Dizdar had already proven her success by winning the best actress award at the Cannes film festival for her acting in this movie. Centering on a handful of teachers in a snow-covered village in Anatolia, we watch an extraordinary story with a great script. Although the prolonged dialogues sometimes slow down the pace, I think you will enjoy the film in general. Especially the naturalness of the small actors in the student roles is magnificent. During Nuray and Samet's long conversation at the dinner table, there are inconsistencies in terms of continuity in the positions of the actors at different camera angles. Ceylan is already a master photographer. He reflected this mastery in his movie. I found his use of the camera very successful, especially in tight spaces. Some of the sentences interspersed between the dialogues still impress me. It will be very surprising if this movie is not among the best foreign film nominees for the Oscars. It was one of the two movies I saw this year that I can say I liked very much. I hope the majority feel the same way.

An absolute masterpiece! I'm tempted to give it five stars, but I'll determine that upon rewatch. About Dry Grasses is a powerful, albeit quiet tale that explores the pursuit of meaning and the lack of control in life, told from the singular lens of a bored and self-absorbed man trapped in a teaching position. In its bloated three-hour runtime, Ceylan seems to simulate the monotonous quality of rural life and brings an authentic personality and candidness to the characters by means such as using minimal music, featuring prolonged scenes, etc. Some might consider this relentless realism as boring, but the script isn't short of emotionally riveting moments and has a slight wittiness and humorousness in the dialogue that makes it very entertaining to sit through. Obviously, all the performances are tremendous and the beautiful cinematography highlights the alienation and oppression that characters must feel. Especially with Deniz Celiloglu, who threads a fine line between angst and friendliness yet always earns the audience's empathy despite his questionable behaviour. More than a mere narrative, About Dry Grasses serves as a profound character study, beckoning us into Samet's psyche, while simultaneously encouraging us to critique him. Ultimately, About Dry Grasses works as a film about the fragility of friendship, the perils of narcissism and serves as a cautionary tale on not letting our human nature detract from our appreciation of life. This is definitely one of the best films of 2023 that I've watched so far, and also one of the most underrated.

Turkish director Nuri Bilge Ceylan is probably the most confrontationally ambitious filmmaker working today. This doesn't necessarily make him the best. Indeed, there are times when you can feel him reaching for a greatness that the likes of Arichitapong Weerasthakul or Bela Tarr make seem easy. Nonetheless, Ceylan takes on the "Big Themes" with a Herculean boldness. He's the "old school great film artist" of today. His work sometimes feels like it belongs more in the era of Bergman or Bresson than today, but that doesn't make it any less impressive.

Ceylan's new film, "About Dry Grasses", is one of his best. The main character, Samet (played by Deniz Celiloglu in an at times overly intense performance), incarnates many of Ceylan's consistent concerns. Like many of the director's characters he is a secular intellectual, or at least he is striving to be one, to throw off the non-secular culture around him. In this, these characters reflect Turkey itself, a predominantly geographically and culturally Asian, Muslim nation that, since the inception of its modern state, has openly striven to become a secular, European one. He thinks too much, which is not to say too well, but this thoughtfulness is often a disguise or an excuse for a resentful selfishness.

Indeed, Samet is one of Ceylan's least likable main characters. At times, his actions disgust us. But the wisdom of the film comes with the acknowledgement that the decisions made by this quasi-anti-villain do not, in fact, amount to actual villainy. Samet is not who he, or we, wish him to be. But neither is humanity, or the world it inhabits. Time, the fact that life literally goes on despite our intentions, bestows on the living the transformative ability to apologize and forgive. (Hannah Arendt would, I think, have liked this movie.)

Ceylan is one of cinema's greatest landscape artists. Although "About Dry Grasses" consists mostly of interiors, the exterior scenes are breath taking. The small village Samet teaches in is supposed to be bleak and ugly and in some sense it is. But there is a sublimity to the revelation of these monotonous snow-scapes. Ceylan's landscapes give his films a singularly sensual quality. A viewer feels the chill of the town and the relief of a building with central heating or, to a less relieving degree, a fire, stove, or cup of hot tea. When winter finally breaks it seems a kind of existential reprieve.

One last note, while this is very much Samet's story, Celiloglu's is not the film's best performance. That goes to the Cannes-award-winning Merve Dizdar, whose performance is as smoldering as that of Celiloglu's, but also decidedly more restrained. The supporting cast, including young Ece Bagci, are generally excellent.

Once again, I would like to thank Nuri Bilge Ceylan and all the team and actors for this beautiful art feast. If the movie lasted another 3 hours, I would watch it without blinking. In some scenes, I waited with a heartbeat for the reactions of the characters. When I watched the trailers of the film, the texture I felt was that the film would proceed on a calm dialogue-free, static ground like in NBc's other films, but I can say that the result was quite surprising.

The scene of going to the bathroom had a completely new and shocking effect on me. Both the emotional world of the characters and the delirium created by their roles in society deserve long discussions and comments. In fact, I can't wait to hear how NBC interprets the film and the character analysis.

A 3.5 hour visual feast. Like Nuri Bilge Ceylan's previous films, this film, although quite long, contains plenty of dialogue that is not boring. Although the action part takes place in the countryside, there are visually fairy-tale environments. However, life is not easy at all in this deserted geography of Anatolia. The film greets the audience with snowy landscapes. In the beginning, we follow teacher Samet. Samet proceeds on the road surrounded by a white and endless horizon in the snow. This powerful scene provides clear clues about the film.

From the first moments of the film, director NBC establishes a fascinating and desolate atmosphere. It repeatedly tells us (as in the movie Winter Sleep) that loneliness is not only a result of external conditions, but also the result of our own emotional moves and selfish attitudes. Master cinematographer Gökhan Tiryaki did not take part in this movie, but the movie is still very successful. Cold colors and gray tones convey the isolation and depression of the characters in a balanced way. It allows us to feel the coldness on the characters' faces and the warmth of a glass of tea.

The deep scenario forces you to consider fundamental issues of the human condition in the context of good and evil, individualism and collectivism. NBC shows us that these dilemmas exist in all societies and force us to question our own beliefs and behaviors.

Again a Masterpiece!

(But USA's Oscars and the Golden Globe will again ignore the master director.)

While I'm not accustomed to writing reviews, I feel compelled to share my thoughts on this film. The experience leaves me with mixed emotions. Visually, it's undeniably stunning, but the narrative's prolonged nature leaves a somewhat unpleasant aftertaste. With a runtime of 3 hours, the first two are rather tedious, contrasting sharply with the spectacular final hour. This is perhaps the most disappointing thing about the movie because it's well seen that this has potential. The final hour stands out as one of the best cinematic experiences I've had, but it's the initial two hours that fail to captivate. The slow pace, extended duration, and occasional loss of coherence contribute to my reservations.

Regarding the characters, the protagonist is remarkably selfish, self-centered, and outright unpleasant to others. While I appreciate the appeal of characters challenging viewers' perspectives, personally, I struggle to enjoy a narrative with such a malevolent main character. This character type represents the one I find most detestable.

In terms of character impact, none, except for the woman, left a significant impression on me. She undeniably stands out as the most intriguing character in the entire movie. The final scene, where she confronts her friend, emerges as one of the most impactful moments in the film.

Despite being a polarizing film that either garners love or disdain, I encourage individuals to give it a chance. Maybe not solely for the characters or the storyline, but there's a potential for valuable lessons to be gleaned from this cinematic endeavor.

Nuri Bilge Ceylan creates another masterful movie with interesting themes that explores the moralities of people and selfishness, great camerawork, strong writing and performances throughout. Ceylan's movies are well-known for being slow cinema and long films but Ceylan's great on capturing the atmosphere of Turkey and his writing really strikes up to it's height. Many of the themes explored within this movie was well-executed, investing, and even with it's long runtime, the narrative never felt boring with each scene and moment being purposeful without wasting any time.

The camerawork is amazing. The visual presentation and production is good. Each of the performances from the cast members, including the child actors are amazing as each performance was realistic and raw. The dialogue is outstanding as each of the dialogue between characters, conversations and lines spoken were well-written and each having a purpose to it's setting. Nuri Bilge Ceylan has become one of my favorite Turkish filmmakers as Ceylan has made some really impressive movies in the seasons of Turkish cinema.

Overall, I absolutely love this movie.

A not very pleasant character is the lead. He is selfish, self regretting, seeks love of too young girls, wants a women, because a friend wants her, has no aim to help other people, talks a lot about bad circumstances, but does nothing to improve something. Truly, not somebody we want to follow as lead character. But .... movies are long enough to do a lot of self reflecting during viewing. And in the end I had to admit to myself: my own character is - very sadly - quite close to that of this lead character. And he survives - so I might survive, too.

Don't be afraid of the movie length. In fact I could have studied the characters for another hour... Fully recommended !

While we were patiently and curiously waiting for Merve Dizdar's award-winning performance throughout the movie, it was disappointing to encounter the parallel universe version of Gülben's character in Masumlar Apartment, or even less. I think many viewers will agree that Ece Bagci did a more impressive and convincing job in terms of art with her performance as Sevim. I guess we can say that political decisions have once again overshadowed creativity and art.

Apart from that, when I think about Nuri Bilge Ceylan's filmography, it was a movie where I saw humorous elements that made me smile for the first time after the melon scene placed next to the corpse in the trunk in Once Upon a Time in Anatolia. But unlike Once Upon a Time in Anatolia, the dialogues of the characters felt like they were actually the director's monologue. I had the same feeling, especially in Winter Sleep and Pear Tree. The film stands out among the director's recent films in terms of flow, humor and abundance of dialogue.

It's tiring. One of Nuri Bilge's films with the most lines. As with every film of his, he highlights cinematography, with landscapes and photographs taking center stage. However, the recurring theme of provincial life is becoming tedious. I feel the director is taking the easy way out here. It seems like he's following a template, just filling in the blanks. Moreover, the constant interruption of the film with portrait photographs seemed meaningless to me, giving it a documentary feel. It was unnecessary.

I'm also getting tired of the recurring theme in Nuri Bilge's films where the main character, an 'intellectual', struggles to adapt to provincial life. There are some new elements in this film, like social media, and issues like harassment and mob culture. However, I believe the portrayal of pedophilia in this film is misguided. In countries like Turkey where these issues are real, depicting them as falsehoods in movies seems absurd to me. It should have been the opposite, confronting the perpetrators. But Nuri Bilge's disregard for such issues and his mockery of the 'me too' movement is well known. Only the Cannes jury seems to appreciate this attitude.

Fresh fallen snow in a girl's sable hair, radiant mountains all along the horizon, flickering streetlights of a small town, ancient Roman columns, stunningly deep and beautiful artwork, ominous dark cliffs, mesmerizing photographic portraits, and ethereal colors of twilight. About Dry Grasses is worth seeing for the cinematography alone.

An art teacher in a remote mountain village, Samet, is the subject of a schoolgirl crush. Or so he believes. When Samet confiscates the love note of his pet, Sevim, a school-led investigation into favoritism ensues. How quickly the tables are turned. Sevim gives Samet a well-deserved schooling of his own.

Sevim's lesson to Samet is nowhere near the end of the film. Many times in About Dry Grasses the tables are turned like this; in lengthy back-and-forth conversations, twists in perspectives, harsh judgments walked-back, the landscape turning from deep snow to dry grass, and in the characters themselves. The film is delightfully deep (my mind is still turning). And long (over three hours). I am amazed at how the actors memorized the many, long, complex, and rapid-fire dialogues. The subjects of the talks are fascinating too (about the flicker of light beyond what is visible, following rules or not, and security forces taking people away in modern Turkey).

Even while these deep conversations are occurring and the actors are doing amazingly well, director Nuri Bilge Ceylan provides jaw-dropping backgrounds. There is a scene with the characters collecting spring water at a cliff side with spectacularly beautiful snow-covered mountains all around them. It is so beautiful I couldn't concentrate. My head is still spinning. His other films, Once Upon a Time in Anatolia, Winter Sleep, and The Wild Pear Tree, are like this too.

About Dry Grasses first surfaced at Cannes. I watched the North American premiere at the Toronto International Film Festival.

For a duration of 3 hours and 9 minutes, I was engrossed in every moment of the movie, never once experiencing boredom. The narrative unfolded in two distinct acts, intricately connected by the delicate thread of human ego. Ceylan's masterful direction flawlessly captured the beauty of rural Anatolia across two seasons.

A standout feature that stole the spotlight was the most audacious 4th wall break in cinema history. This unexpected twist may have been a deliberate measure to enhance the movie's intrigue, and it undeniably succeeded. Throughout the film, there was a palpable sense of being on the edge, keeping the audience consistently engaged.

The first act, marked by an unsettling scandal, further heightened the tension. Ceylan's work has proven to be a revelation for me, introducing a new doorway to a unique cinematic experience. His expertise lies in crafting extremely clever dialogues, often laced with an undertone of social commentary, showcasing a distinct specialty that sets him apart.

As I delved into the world created by Ceylan, I found myself captivated by the maturity and authenticity of the dialogues. The film, centered in rural Anatolia, initially gave off an 80s or 90s vibe, only to cleverly introduce the modern element of someone checking Instagram. This unexpected juxtaposition added depth to the narrative, making it a truly immersive experience. In essence, Ceylan's storytelling transported me to a different era while weaving a tale that felt remarkably relevant and real.

As a big fan of NBC Poor dialogues (except dinner scene) Bad actor choices, especially side characters Poor visuals/angles, I didn't understand what is the problem with camera.

Something problematic with story flow, I felt like watched several short films, weird.

I'm really disappointed overall, first time in my life did not get any taste by his movie.

Dinner night scene was really good and big applause going to Merve, I think she saved the movie.

I'm angry and could not write properly, really weak story flow with bad camera angles and dialogues. An opaque bottle with surprises in it. Bottle was empty.

After Merve Dizdar received her award for best actress at Cannes, my expections were even higher for this NBC film, which was already high, due to his track record for some of the best Turkish films in recent years. And after watching it twice this week, I can safely say that the film lived to all of my expectations.

The plot, as his other films', may seem a bit ordinary, but once again the movie reflects a great depth of some personalities and multi perspective look to some of the facts that exist in a typical east Anatolian village today.

The scenario is very successful in capturing and reflecting some social dilemmas that many viewers will find themselves a part of, with some well prepared scripts that lead to very natural flowing deep dialogues, which are very well played by the leading actress and actor, and other actors.

Not to mention elaborate visuals, which bas already become an NBC signature, but this time smartly decorated with some strikingly beautiful still shots, most probably by NBC himself or his wife Ebru Ceylan, also a co-writer of the film.

Snow has always been NBC's favorite background, but this time he has used it with some early or late hour shots that gave some beautiful visual effects. Similar to his Winter Sleep movie, usage of warm, low dim indirect lighting in some otherwise poor looking (or humble at best) places once again had resulted in painting like scenes, which also highlighted and emphasized some gestures of the actors/actress.

The title of my review is actually one of Nuray's lines at her closing scenes, which striked me most, among many others during the film. Although it seems to be directed to Kenan, it actually summarizes Samet's seeningöy never ending unrest.

I can safely say that this film represents a high point in NBC's successful career and will hopefully get more awards because it simply deserves it fully.

You will get lost in this movie thanks to the superb acting and teamwork. One can easily feel the cold, silence, and hopelessness amid the wildness of the territory and human nature. The lead actor perfectly reflects all emotions, as does the lead actress, although her role is not as extensive as his. I felt a bit uncomfortable at the beginning; however, the method of presentation was quite diligent and sensible, so those stresses were quickly resolved. The cinematography was great. I am quite fond of films that do not use too much music, and this one is another good example. The scene where Samet wanted to turn the lights off should be watched over and over again. I may not know the exact terminology in cinematic terms, but it was quite impressive. Well done.

It's a character drama about truth and lies in modern times in rural Eastern Turkey during a harsh winter. It follows various teachers who are required to work in a remote area before transferring to more desirable urban locations. Samet (Deniz Celiloglu) is a fourth-year art teacher in primary school who can't wait to transfer out. His friend, Kenan (Musab Ekici), is his housemate and a fellow teacher. Samet seems to be popular with his students, especially Sevim (Ece Bagci), an attractive grade-eight student to whom he has given presents. Initially, we learn of the rigidity and bureaucratic nature of the educational system through Samet's interactions with his superintendent, Bekir (Onur Berk Arslanoglu) and the Director of Education (Yildirim Gucuk).

One day, the school administration confiscates a love letter that Sevim has written, and Samet comes into possession of it, though he claims to Sevim that he has destroyed it. Her distrustful reaction creates difficulties both for Samet and Kenan.

A distraction for Samet and Kenan is Nuray (Merve Disdar), a female teacher at a nearby school who lost a leg in a terrorist bombing some years before. Samet and Kenan are interested in Nuray, though both are devious in their procedures. Throughout, there are lengthy conversations about how to make the most impact on the world, with the apparent options being risking action or sitting back and observing with a cynical eye.

The Roger Ebert reviewer called "About Dry Grasses" "steadily paced, richly intellectual, and absorbingly acted." I found it pretentious, at least an hour too long at three hours and twenty minutes, and trapped in too many plot ambitions. Celiloglu, Bagci, and Disdar perform very well, though one conversation between Samet and Nuray is interminable. I suspect the subtitle translation is not the best; some Turkish speakers in the audience, when I watched, heard humorous references not reflected in the subtitles.

Nuri Bilge Ceylan has created yet another masterpiece. I think this movie is one of the director's three best movies. The characters are all very realistic, they all have weaknesses. They all have their good and bad aspects. It's very long, but I don't know which part of the movie would have been better. I changed my mind many times throughout the movie. For example, I was very angry with the bureaucrat characters at first. Because they were covering up the events. But towards the end of the movie, the bureaucrats were proven right. In my opinion, the director's best film is Once Upon a Time in Anatolia. Later, this was my favorite movie. The movie Far comes in third place. I recommend everyone to watch it.

We all tell stories, motivated by various reasons-be it out of spite, self-defense, or to protect someone's feelings. These stories either smooth the path of our interactions or become the very sand that grinds the gears. Yet, it's within the gray area that stretches between the pursuit of an unachievable truth and the fabric of the most imaginative lies where the essence of our experiences lies: the emotional impact of an event often overshadows the accuracy of it. In his latest cinematic journey, "About Dry Grasses," Turkish filmmaker Nuri Bilge Ceylan delves into this notion with a captivating narrative that spans over three hours, reminding us that every truth carries a shade of the speaker's bias. Through the story of a young teacher yearning for a transfer to Istanbul after a stint in a remote village-a dream derailed by accusations from two students-he explores the idea that our perceptions and hopes are always worth a second glance, for neither despair nor hope should be taken at face value.

As the teacher faces disillusionment, an unexpected ally rekindles his hope, suggesting that embracing our flawed beliefs might be our salvation. Ceylan's narrative argues against the resignation to a cynical acceptance that nothing can change, highlighting that change is often sparked by those who chase their boldest dreams, despite their imperfections. This is vividly illustrated through the protagonist, Samet, who is drawn to Sevim and Nuray-individuals who, unlike him, seem to rise above their cynicisms, offering a glimpse of hope in a reality often marred by disappointment.

Ceylan crafts a story that serves as a mirror to the human condition, suggesting that reality, much like the landscapes that shift from the harshness of winter to the promise of spring, is neither as dire nor as idyllic as it appears. The true challenge lies in navigating the memories of brighter days without being overwhelmed by the shadows of the coldest months.

I'd give this movie a 9/10 as I enjoyed it. From the visual design to the sound, and to the characters and how they performed.

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Nuri Bilge Ceylan's new film Dry Grasses on the Hill is one of the most impressive works in the director's long filmography. The film tells the story of a young teacher on mandatory duty in a small village, who spends his days hoping to be assigned to Istanbul.

The film's protagonist is Muzaffer, played by Deniz Celiloglu. Muzaffer lives a sad and lonely life, far from his family in Istanbul. He waits every day in hope of being assigned to Istanbul. However, over time, as he witnesses the lives of the villagers, he begins to realize how distant and foreign Istanbul is to him.

The film's strongest point is its in-depth exploration of Muzaffer's inner world. Ceylan masterfully reflects Muzaffer's emotions and thoughts with long and silent shots. Muzaffer's loneliness, despair, and disappointment are felt in every frame of the film.

Another strong point of the film is the natural and sincere acting performances, which combine with Ceylan's impressive cinematic language. Deniz Celiloglu gives a terrific performance as Muzaffer. Merve Dizdar and Musab Ekici are also successful in the roles of Muzaffer's friends in the village.

Dry Grasses on the Hill is a tale of despair and hope. Ceylan masterfully tells the story of the deep conflicts in the human inner world and the loneliness created by these conflicts in his film. The film is a masterpiece that makes viewers think, question, and be impressed.

Summary: Dry Grasses on the Hill is one of Nuri Bilge Ceylan's best films.

The film explores Muzaffer's inner world in depth.

Ceylan's impressive cinematic language enhances the power of the film.

Deniz Celiloglu gives a terrific performance as Muzaffer.

Conclusion: Dry Grasses on the Hill is a must-see film for cinema lovers.