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Ray Pride

By Ray Pride

Climates control: photos by Nuri Bilge Ceylan


Hadn’t visited Turkish director Nuri Bilge Ceylan‘s website for a while, so it was a swell surprise to happen upon an extended gallery of his work, especially the folio this image is drawn from, called “Turkish Cinemascope.” His intensely beautiful movies of contemporary discomfort, such as Distant and Climates are important, and these 24×50 images look pretty terrific. [They’re larger on his site than shown here; this one took my breath away.] The series is of panoramic photographs shot across Turkey in the last four years, mostly during location scouts. They’ll debut at the Thessaloniki International Film Festival in Greece in November 2006, along with a retrospective of all of his films. Here’s the trailer for his latest, opening this weekend at Film Forum in Manhattan:

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“As these stories continue to break, in the weeks since women have said they were harassed and abused by Harvey Weinstein, which was not the birth of a movement but an easy and highly visible shorthand for decades of organizing against sexual harassment that preceded this moment, I hope to gain back my time, my work. Lately, though, I have noticed a drift in the discourse from violated rights to violated feelings: the swelled number of reporters on the beat, the burden on each woman’s story to concern a man “important” enough to report on, the detailed accounting of hotel robes and incriminating texts along with a careful description of what was grabbed, who exposed what, and how many times. What I remember most, from “my story” is how small the sex talk felt, almost dull. I did not feel hurt. I had no pain to confess in public. As more stories come out, I like to think that we would also believe a woman who said, for example, that the sight of the penis of the man who promised her work did not wound her, and that the loss she felt was not some loss of herself but of her time, energy, power.”
~ “The Unsexy Truth About Harassment,” by Melissa Gira Grant