Nuri Bilge Ceylan faces his audience as a thinker in his eighth feature-length film “Ahlat Ağacı (Wild Pear)”. We can call him a director who thinks, argues and investigates through his films.
In Nuri Bilge Ceylan films, it is not possible to find sharp and thick lines between thoughts; it can be seen a tendency of not leaving the end-decission up to the discretion of the audience after the issue has been dealt with in all its good and bad, ugly and beautiful, right and wrong dimensions,
Nuri Bilge Ceylan seems as he wants to let his audience participate in his way of thinking and adventure. That’s why the watcher becomes lost in thought while watching and after watched “Ahlat Tree”. I especially mention ‘after watched’ because “Ahlat Ağacı” is not a film ending when watched. It enters to the life with its watchers. It is being redirected again and again in the mind of the watcher. Characters, dialogues, images and sounds are remembered in different situations and times. From its this feature, “Ahlat Ağacı” does not limit its impressiveness for only watching it but it spreads to the daily life of the watcher. The watcher finds himself, his community, his family and his country in the “Ahlat Ağacı” especially because of his rich associations.
“Ahlat Ağacı” has a depth to be politically, historically, economically, sociologically and philosophically interpreted. Even the long tirats and dialogues in the film are not boring. Scenario writers have put in a steady stream of work., The effect of the established player squad and the precise performance of the players in this fluency are great. From the “Ahlat Ağacı” all kinds of watchers can create their own meaning and cinematographic flavor.