Paper lives is a 2021 turkish drama film by can ulkay and by ercan mehmet erdem, which is composed by the turkish artist kağıttan hayatlar. The movies stars çağatay ulusoy, emir ali doğrul, ersin arıcı and turgay öztürk. On the 12th of march 2021, it premiered on netflix.
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| 7 reasons çağatay ulusoy paper lives kağıttan hayatlar is not what it could be |
Infantry... And if we are huge individuals, our often unimportant adolescence is the majority of our lives. The bleeding wounds most open, and regardless of how old you are, the wound has no shells. If your youth cannot be a teen, you will no longer be an adult in adulthood. Still a hole, still an inexhaustibility...
An eight-year old boy is hidden in the garbage sac of his comrade in his poor neighbourhood of istanbul. A friendly garbage collector, mehmet, who has a soft place for the several homeless boys in the city, after becoming homeless. Mehmet is committed to bringing the boy back to his home.
1-Can ulkay's new film, paper lives, which in the last five years became popular by film, reach the audience through netflix. The following film from ulkay was enthusiastically anticipated after viewed but previously disputed films, such as ayla, muslim and turkish ice cream. This time we are seeing a film which has not been set in the past but in the current, and which shows the challenges of today. The movies stars cagatay ulusoy, ersin beeci and turgay tanülkü, written by ercan mehmet erdem, one of the screenwriters of behzat ç and tellgı.
Like the instructor says, "if you don't have a mum, you don't have one," this film shows real life, motherlessness, people who have homes at the highway, the dark side beyond the glimmer of istanbul. The dark side's name is the stalemate in war.
2-The movie tells the tale of the ulusoy mehmet figure. Mehmet is the "manager" of a paper- and waste-recovery centre waiting for a kidney transplant. To many paper collectors, diverse backgrounds and countries, he is a "big brother." one day, when an ali, nine or ten years old boy comes from a paper cart of the best friend of mehmet gonzales, mehmet does not know what to do. His stepfather beats ali, and his mom begs him not to go anywhere. Mehmet can't stand, takes him alive and begins to glare at him. He teaches him his work, but his friends know ali would be in trouble. Mehmet defends both of his peers alike. Ali is hit, falls in a coma, attempts to abduct. There is mehmet for him still. Yet something happens and mehmet chooses to face the stepfather of ali. Stuff would not go as expected.
3-He is trying to explore the limits of his success as we saw in his film. For him, it's a perfect decision. We may tell, however, that in the movie there is nothing but ulusoy and his mehmet person. Without adding something, i don't want to go, i don't like it much. I don't even want it. He actually attempts to make his tale frothy and psychic, to cast tears out of our eyes. Here you must inquire. Why would it happen? Why do you do that? Can it not be the tale of a guy who only between papers tries to make a child happy?
4-Aphorism written in the capital letters started out with ulkay's paper film: "at a world where children cry, it's just cruel to laugh." then he continues with a dedication: "in tribute to every child who grew up on the street orphaned..." the film is thrown from place to place for 100 minutes without a lot of consistency and understanding with the comfort of giving the "main idea" from the beginning. First of all, the film audience doesn't trust him. His audience does not live in this city, in the world on these streets. We see the entry of the very rich and open-top car at the beginning of the film to the party. This scene contrasts with the paper collection cart of patient mehmet. The conditions under which all the children, the paper collectors, had mud on their faces were underlined.
The abandoned houses in which they live are always displayed. But there is a spirit of solidarity in them in a neighbourhood. Lgbti+, roma and africans all belong to a large solidarity network. But between the paper collectors, there is still a fight. Mehmet and gonzales, on the other hand that grew up with each other, were somehow pushed in various places in capitalism's wheels. The boss of gonzales is mehmet. In this context, what is our tale of equality and solidarity? The push to deliver a response lead to a messages confrontation.
5-What the film means about it is difficult to explain. Is it a hard task to choose paper? Are there street children? And. Yes. Yes. However, i have just to go on the lane. Perhaps the director needed to warn them of the pandemic in the lane, worried of his crowd. There is a tragic scene, on the other side, which reveals the children fell off the streets as mother's fault. Why are those children on the path, if each mother wants and loves her child? It does not survive the final we realise in the centre of the film because he is lost in the side of the plot, because he does not get his rhetoric correct or that the unintentionally streaming pictures roll fast into a whole. All that we've seen thousands of times in these past 25 years is also the sterling inverted corner used in the final film, not the weakest aspect of the film.
6-It was their acting. The only positive thing about the film. The complex film that still does not exist entirely is partially the fault between the cagatay ulusoy and the beekeeper. The ali dogrul ali of emir is also not poor. Naturally, the locations at which turgoy tanülkü enters are most encountered are like breathtaking films.
7-As a consequence, life on paper is not enough to deliver ayla and muslim films. From the aphorism at the beginning it is also clear that he is preparing himself for a weeping series. Perhaps this emotional manipulation would also succeed. And there are obviously several individuals who have scenes to go forward. It can be mentioned that such an analogy is not possibly feasible, for the cagan irmak film my dad and son has a sense of film. I've also seen on the internet that the opportunity of 'my cries' was compared to my dad and son. A director who has been unable to distinguish between the stories he needs to say and the thrill of the reverse corner at the end of a script, and a script which thinks that it will make the film nice if we display unity between various marginalised communities superficially in the form of the liberal identity politics.
We all call out to our childhood most of the time, we reach out to him. We're wrapping your bleeding knees around your trembling body. No matter how much we grow up, there's always a kid on one side of us. We feel sorry for that little boy who's small and vulnerable and has bruised knees, and we cry together. As crazy as it sounds, we're happier than we are with that little boy inside of us. Whether they say the kid's smart or they say he didn't grow up, they say he's crazy, but don't hurt that kid, okay? He's had enough injuries already...
He grew up with his wounds, but it's a good thing you hurt him. Only he can tell you about his pain and you're the only one who can understand him. If you can't fit it, you won't be able to fit it in your four-chamber heart and then anywhere. The narrow income is even the widest place. Love that boy with his pain, love him with his crust-bound wounds, love him with his tears that don't dry, and love him most of all with those eyes that light up when he laughs. He's held on to hope, and you hold on to him and don't let go...
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