KAAN ARICI | İSMET KURTULUŞ Turkey DRAMa 1 h 10 m AKA RSVP MELİSA ŞENOLSUN | CEM YİGİT ÜZÜMOĞLU | USHAN ÇAKIR
Awards & Festivals:
1 Wins, 1 Nominations
Schubert and Theatrical Thriller
Kaan Arıcı and İsmet Kurtuluş, known for their previous work “Son Schnitzel and Donadona,” present their latest film “LCV,” delving into the confrontation of a couple about to marry with their past, without crossing the line of tragedy and dark humor, but rather providing a more societal analysis.
The audience is invited into the bride’s room with the film’s long prologue accompanied by Schubert just before the wedding ceremony, and from there, they are not allowed to leave. The director(s) not only focus on one of the most stressful moments of human life but also succeed in creating a catastrophic atmosphere with escalating tension in this single confined space where they trap both the actors and the audience.
In this film dominated by theatrical elements (which we learn has evolved from a play to a film), the weight naturally falls on the actors at the center; and it’s safe to say that they give it their all. Especially Cem Yiğit Üzümoglu truly deserves the Best Actor award he received at the Antalya Film Festival.
Thematically, the film boldly incorporates both the nature of relationships and topics such as homosexuality and bisexuality, which Turkey is not yet comfortable discussing, into a love triangle. Doing this with neutral approach and a multifaceted perspective along with social interrogations and cultural codes is truly valuable. There’s no bias or taking sides towards the characters; here, the human factor comes into play: “Ultimately, they are all human and none of them is perfect,” says screenwriter Erdi Işık.
As the tragicomic story rapidly progresses towards an inextricable spiral, the director’s choice to steer towards comedy rather than drama or tragedy in such situations could be a result of human defense mechanism against such situations. Despite the successive interrogations and shifting targets that seem to distract the audience from the core of the story, the film offers the audience high-tension intrigues akin to Yeşilçam style with a fresh perspective. (Here, there might be a criticism, perhaps considered as a cultural code, but still, the reactions and expressions that seem forced may exceed the limit).
Particularly, the cinematographer deserves praise: by synchronizing the characters’ emotional states with stagnant or dynamic, distorted camera movements, and cinematographic choices that harmonize with trilogies between the trio, they manage to keep the pace of the environment high and maintain the audience’s focus on the film.
(Spoiler) In the end, returning to the beginning with the recycling symbol tattooed on the bride signifies the purpose; the bride and groom, wearing their guards, almost leave the room as if going to a ring or a courtroom rather than from the wedding salon, finishing the film.
After premiering at the Golden Orange Film Festival and then being shown internationally (Australia: Pride Queer Film Festival and Germany: Munich Turkish Film Days), “LCV” was screened with the participation of the team at the Istanbul Film Festival. (07.04.2023 – Kadıköy Cinema)
