Solemplex To me, this movie is perfection.

Smartorhypo Highly Overrated But Still Good

Spidersecu Don't Believe the Hype

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

Sindre Kaspersen Turkish photographer and director Nuri Bilge Ceylan's fourth feature film which he wrote, co-produced with Zeynep Ozbatur Atakan, Fabienne Vonier and Cemal Noyan and co-edited with Ayhan Ergürsel, was shot on locations in Turkey and is a Turkey-France co-production which was screened In competition at the 59th Cannes International Film Festival in 2006. It tells the story abort Isa, a middle-aged university instructor and his younger girlfriend Bahar, who is an art director. During a stay in Kas, Turkey it becomes evident to the both of them that their relationship is not what it once was and they decide to go their separate ways, but after returning to Istanbul, Isa begins to reconsider their decision.Distinctly and acutely directed by Turkish filmmaker Nuri Bilge Ceylan, this quietly paced and serene fictional tale which is narrated mostly from the protagonist's point of view, draws an afflicting portrayal of a fragmented relationship between a man and a woman which evolves during three seasons. While notable for it's naturalistic and atmospheric milieu depictions, prominent cinematography by Turkish cinematographer Gökhan Tiryaki, sparse dialog and use of sound, this character-driven and reflective low-budget film depicts two condensed and converging studies of character.This nuanced, universal and internal drama about the distance, the complexities, the emotional intimacy and the loveliness within interpersonal relations, is impelled and reinforced by it's subtle character development, cogent narrative structure and the authentic acting performances by director Nuri Bilge Ceylan in his debut feature film role, his wife Ebru Ceylan and Turkish actress Nazan Kirilmis. A involving, humane and existentialistic road-movie which gained, among numerous other awards, the FIPRESCI Prize at the 59th Cannes International Film Festival in 2006.

zetes Palm D'Or nominated feature by the director of Distant (2002). This is nearly as good as that one. Like it, it's a slow, contemplative art film about relationships. This one stars the director and his wife, Ebru Ceylan, as an unhappily married couple on vacation. They mutually decide to break up. Much of the rest of the film follows the husband trying to cope with his loss. The latter part of the film has him follow his wife to a snowy mountain region where she has moved for work. I hate to harp on it, and I frequently attack others who have this complaint about films, but the main problem with Climates is that the protagonist is incredibly unlikeable. Like I said, I hate to have that complaint, because there are so many bad people in the world. Why shouldn't some movies explore the less than enviable characters? I suppose, though - and this is how I felt about this film - spending a lot of time with such a character can become something of a bummer. Yet he is a human being, and I do like that Ceylan explores him. He's not exactly redeemed by the end (there's a certain act in the movie that's pretty much unforgivable), but we understand him. The end of the film makes it well worth seeing (besides, it's only just over 90 minutes anyway). Those final two scenes are exquisite. Despite my complaints, this is worthwhile.

Martin Bradley 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.

atyson Character study of a man at the end of a relationship - Quite simply, if the director's previous movie 'Uzak' (Distant) got under your skin, this one will too. So much so that the movies seem almost complementary. Both movies, about a photographer based in Istanbul, are about distance, about how much we keep to ourselves and how much we (can) share with others. In a dramatically low-key and visually inspired way, they address a great theme: the tension between the public and private, particularly in contemporary urban life. Like the movies of Antonioni or Ozu, shots are very carefully composed. Like the movies of Louis Malle there is considerable humanity at the heart of it all. Whereas 'Uzak' pointed up its main character's foibles and limitations in relation to his putting up a guest in his apartment who is looking for work in the city, 'Climates' addresses similar issues in the break-up (or breakdown) of a relationship. In either movie you will see truths about relationships and the way people live today.