Director/Screenwriter/Editor: Asli Özge
By Marilyn Ferdinand
One of my pet peeves with modern cinema is when a film begins with a sex scene—to me, it seems that the filmmaker lacks the confidence to draw an audience in by less sensational means. After being initially put off by this ploy in the Turkish/Dutch/German coproduction Lifelong, I came to see that it was an important key to the entire movie. Lifelong’s sex scene is short and vigorous, but its aftermath is the point—no embrace or conversation, just a panting woman left alone in bed while her husband showers. This is a marriage on the brink of dissolution.
Reminiscent of the alienated couples in the films of Michelangelo Antonioni, Ela (Defne Halman) and Can (Hakan Çimenser), an installation artist and architect, respectively, live a very luxurious life in a modernist, multistory home in Istanbul centered around a spiral, metal staircase that sounds a hollow ring every time someone moves on it. Ela’s studio is on the ground floor, and she sleeps on the couch there most nights. Despite their mutual unhappiness, Ela is concerned when she suspects Can of cheating on her. She snoops into his cellphone to see who he has called and has a hook-up on the house phone installed so that she can listen in on phone calls without being detected. When she discovers her suspicions are correct, she tells Can she wants to move out.
Lifelong is a film of mood, simmering emotion, and somewhat surprisingly, work. Ela’s approach to art is highly conceptual and noncommercial—she searches a quarry for a boulder “big enough to crush a man,” and then hangs it above the glass roof of an art gallery. Can’s work presumably is reflected in the home they share, and we see him go to a region of Turkey where a 7.2 earthquake has flattened 72,000 buildings, perhaps to assess the causes of the damage and make plans for rebuilding, though the trip is never really explained.
The earthquake figures in Ela and Can’s story as well, as they sleep through what has roused their entire neighborhood. This is a rather obvious metaphor for their repression of the fatal fracture of their marriage, and it frightens them into embracing each other in passionate need. Soon, however, Can slowly, delicately extricates himself from Ela’s embrace, seeing their actions as panic-motivated and not a true revival of feeling.
It might be tempting to look at this film as just another exercise in self-pity among the financial and social elites, but I was haunted by the performances of Çimenser and especially Halman. Can is brusque and often unsympathetic, but his pain is evident and his concern for Ela real, even if he no longer loves or wants to live with her. On their way to visiting their daughter Nil (Gizem Akman) and her live-in beau Tan (Onur Dikmen), Ela is shown cooling her burning-hot feet in the snow, a stunning image; on arrival, her body temperature and blood pressure rise to a dangerous level, and she flies back to Istanbul to be hospitalized. Can, driving alone to meet her there, stops at a viaduct she wanted to photograph but that he made her skip, and in a warm gesture, shoots some pictures with his phone to present to her.
Halman, however, is the real center of this film. Özge’s camera catches her in every mood—mostly drawn and serious, but also happy and animated in the presence of her daughter. A woman who appears to be in her 50s, she is still attractive and in shape, but director Özge knows the insecurities that befall women at all ages, but especially when they are past their peak of attractiveness. She films Halman strip naked and stare at herself in a full-length mirror, perhaps wondering if she would have rejected that body, too, if she were Can. Of course, there is a brittleness to the couple’s conversations, with Ela condescending to Can, and Can sulking defensively. When Ela calls the number on Can’s cellphone, we hear nothing—indeed, we see and learn absolutely nothing about the woman he is seeing—but understand what has happened by the minute changes on Halman’s face. We watch Ela scrutinize Nil and Tan’s relationship. In a cleverly shot scene, Nil, Tan, Ela, and Can are each framed in a separate window of a coffee shop as Ela asks why Nil is giving up industrial design for Tan’s field of archaeology. Visually, it would appear that Nil is planning to replicate her parents’ marriage.
It is only after the doctor has ruled out anything organic, diagnosing her condition as psychological, that Ela determines her stress level is too high to live with; she confronts Can with his infidelity and takes the first step to end the marriage. But couples who have been together a long time uncouple slowly. Can allows her to sleep in the bedroom when Nil and Tan come to Istanbul to attend the gallery opening, and he enters an installation she has at the show, a room of shifting colored light masked with mist from a fog machine, and emerges full of praise and admiration for her work. It is strange to watch them shop for apartments together, but when we see which one she chooses, we understand that cohabitation may end, but the marriage will be what the film’s title suggests—lifelong.
Lifelong screens Saturday October 12, 8:30 p.m., Monday, October 14, 6:00 p.m., and Thursday, October 17, 1:00 p.m. at the AMC River East 21, 322 E. Illinois St. in Chicago. www.chicagofilmfestival.com
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