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Movie: Once Upon a Time in Anatolia

Release Date: January 4, 2012 (NY)

Studio: Cinema Guild

Director: Nuri Bilge Ceylan

Screenwriter: Ercan Kesal, Ebru Ceylan, N.B. Ceylan

Starring: Muhammet Uzuner, Yilmaz Erdogan, Taner Birsel

Genre: Drama

Official Website: Not Available

IMDB Rating: 8.5

Story: In the middle of the night, a cramped car packed with men – a doctor, a policeman, a confessed killer – slowly traverses a flat and featureless land, looking for a corpse. Where did the murderer bury the body?

Here. No, wait. Maybe there.

The men argue. The policeman knocks the killer around. They get back in the car and start driving. They talk about their wives, their failing middle-age bodies, where to get the best yogurt. Then they stop again.

Here? Yes. No, no. Not here.

And back they get in the car, and back they get on the road.

It sounds a little like a police procedural as written by Samuel Beckett and it’s roughly how the first two hours of Nuri Bilge Ceylan’s “Once Upon a Time in Anatolia” unfold.

Forget the violence promised by that Sergio Leone-esque title. This is the slow drip-drip-drip of modern life, where every time you think you’ve plotted a swift, straight course, human error and dusty bureaucracy slow it down and throw it off.

As painful as these events are for the characters – particularly the physician, played by Muhammet Uzuner, and the arrested man, played by Firat Tanis, this film can be its own trial for an audience. There is very little overt drama. The camera waits, and watches, like a vulture.

In fact, compared to some of the director’s previous films – like the masterful “Climates,” which boiled a marital drama down to three characters and less than 90 minutes – “Anatolia” can, at times, feel almost like an epic from which all incident has been removed.

But then, there’s a sudden bolt of beauty in those desolate landscapes. Or just when things slow down even further – as the hungry men stop for a meal – they suddenly erupt in surprising admissions, and emotion.

And, in a way – as it is in much of the new Romanian cinema -- the pace is the point. Ceylan is illuminating not just a crime here, but a culture, and that the men provide a cross-section of Turkish society – from workers to professionals, from the devout to the secular – only underlines its portrait of a confused nation.

Should we go here? Yes. No. There? OK, let’s go.

And they do not move.

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