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First, the Recap:
Betrayal. An ugly word in itself, and even uglier to be a person having to experience its emotional turmoil and unfortuitous results. As human beings, we seek to be understood, to be accepted, and to be loved in a world raging around us that seems to desire those facets of life not be gained. In this, it can leave us angry and unforgiving, yet sympathetic in heart to those who are also going through the storm. Mert (Deniz Aslim) begins a new day with a cryptic text from a friend, “Find me”. When attempts to contact him via phone fail, Mert turns to his friend’s fiancé, Ceren (Gizem Aybike Sahin), who has also not heard from him either, as desperation and anxiousness begin to overwhelm her.
Intent on not allowing Ceren to suffer any longer in doubt about her upcoming marriage, Mert takes it upon himself to resolve the situation and locate his friend. Initially seeking out another friend, Cem (Mehmet Samer), no ground is gained. However, in a search of the nearby woods, Mert is met by a girl (Cevahir Casgir), whose mysterious demeanor and carefree playfulness captures Mert completely, as he ultimately explains his reasons for being there. Tempting Mert to stay, in revealing her own rationale to live where she does, he chooses to ward off her advances and returns home, still with no answers to provide Ceren. But a subsequent return to the woods and it’s mystifying denizen yields startling and harsh truths that only then makes a much greater picture clear.
Next, my Mind:
Azerbaijan-born independent film director Tofiq Rzayev’s newest short film effort is another gorgeously executed example of the beauty of simplicity, slow burn storytelling, and delivering (in the fullness of its 24+ minute runtime) a finale that leaves you speechless. The starkness of the settings and cinematography displayed here keeps the film grounded in a true sense of reality, having the viewer be made to stay focused on each and every sequence in its entirety, hence to take in the deeper messages that will eventually be brought to light. And the message being portrayed here is an all to familiar one, and the method of exposing it is quite potent.
Also appropriate to the film’s overall tone and flow are the actors. This isn’t Shakespeare, nor is it supposed to be. The dialogue and interaction between the characters portrayed is as if we were looking in on a real life group of people, following them around, watching via the camera’s eye, and piecing together the story unfolding before us. Aslim, Sahin, and Samer play their parts admirably, but in the end, it is Casgir’s haunting and emotionally fluid girl in the woods that elevates the proceedings to their intense, yet subtlety building, conclusion, at which time the character’s riveting change in manner shocks you with her purpose for being who and where she is. Add an atmospheric soundtrack (found here), the effect is complete. Independent film and film festivals worldwide, honestly, should take notice of “The Girl In The Woods”, an exercise in clarity and straightforwardness.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
