"Everything which is universal must be local": Omer Kavur

His films are difficult to classify but critics recognise him as a filmmaker who has forged a new idiom in Turkish cinema. Away from new realism in a rural setting towards themes that explore characters in an urban environment. Omer Kavur who was in Capital this week for a retrospective of his films organised by Cinemaya magazine spoke to India this week on his style of filmmaking.

Born in Ankara in 1944, Kavur studied film at the Sorbonne in Paris in the late 1960s, began making documentary films, and in 1979 made his first feature, Yusuf and Kenan. Since then he made a remarkable series of visually complex, powerful narratives that have common themes of memory and illusion. Motherland Hotel in 1986 gradually turns into a sequence of imagined encounters seamlessly linked to reality. The next year, in The Night Journey, a film director roams across the Anatolian landscape mixing images from his film-to-be-made with the people he encounters. With The Secret Face in 1991 Kavur vaulted into a mythic world of yearning and self-discovery. Scripted by Turkish modern novelist Orhan Pamuk, The Secret Face resonates with echoes of Chretien de Troyes and Richard Wagner, a Parsifal quest in our own time. One of Turkey’s most poetic and honoured film directors, Omer Kavur, died May 2005 at the age of 61. For years Kavur had been battling lymph node cancer but continued to make films through 2003 when his “Karsilasma” (Encounter) was premiered to critical acclaim.

Source: https://brooklynrail.org/2005/09/film...

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