Innocence

Innocence

Cinema has its own language. It doesn’t resemble your life which usually flows with false cast, without a clear theme. But it can change your life. A good film can give you a way of looking, a new language and emotion that the best literature work can accomplish. For example, I have been living with the film for a long time, which I needed to watch twice, successively. Zeki Demirkubuz’s Innocence tempted me much on which I base my world view such as cinema, acting, world, innocence, childhood, poverty, pity, conscience, language, muteness. I will carry this film in my bundle for years just like I carried the poems and songs I liked. The girl’s eyes in the end of Tarkovsky’s Stalker, Mahler’s one of “Songs for Dead Children”, Vermeer’s light, Blake’s one vision, will stand just near a purple couplet of Ece Ayhan… Innocence opens a unique door in Turkish cinema. This is the reason why it can be remembered together with Erksan’s “obsession cinema”. Zeki makes us read his own language persistently. He presents us how he translated that story into his own language apart from his narration. Just like great filmmakers, he writes his own language without considering the Hollywood syntax. When Zeki catches unforgettable cinema moments, he gets what he deserves; the fruit of his persistence, his petulance, and his obsessive love for his work. He looks into our eyes without thinking about bankruptcy and focusing on his own cinema and personal obsessions just like Uğur who, for the sake of her love, pitilessly comes face to face with death. Therefore, Zeki can fearlessly shoot that ten-minute scene which will certainly take its place in the history of Turkish cinema, in which he narrates Bekir’s life.