{"id":2017,"date":"2018-07-04T10:59:49","date_gmt":"2018-07-04T07:59:49","guid":{"rendered":"http:\/\/selimgunes.com\/?p=2017"},"modified":"2023-05-23T12:07:55","modified_gmt":"2023-05-23T09:07:55","slug":"dus-kirginlari-doganin-kucaginda-kendine-tegelli-yasamlar-ve-bir-ozgurluk-ihtimali-olarak-abjeksiyona-kacis-deniz-gundogan-ibrisim","status":"publish","type":"post","link":"https:\/\/selimgunes.com\/dus-kirginlari-doganin-kucaginda-kendine-tegelli-yasamlar-ve-bir-ozgurluk-ihtimali-olarak-abjeksiyona-kacis-deniz-gundogan-ibrisim\/","title":{"rendered":"D\u00fc\u015f K\u0131rg\u0131nlar\u0131: Do\u011fan\u0131n Kuca\u011f\u0131nda Kendine Te\u011felli Ya\u015famlar ve Bir \u00d6zg\u00fcrl\u00fck \u0130htimali Olarak Abjeksiyona Ka\u00e7\u0131\u015f \/ Deniz G\u00fcndo\u011fan \u0130bri\u015fim"},"content":{"rendered":"

oggito.com, 2018.07.04<\/strong><\/p>\n

Selim G\u00fcne\u015f, 2018 imzal\u0131 ikinci uzun metraj filmi D\u00fc\u015f K\u0131rg\u0131nlar\u0131\u2019yla yine bir d\u00f6nem-atmosfer kurgusuyla kar\u015f\u0131m\u0131zda. Ancak bu kez insan\u0131n ve elbette insandan \u00e7\u0131kan en ilkel ve en temel duygu yo\u011funlu\u011funun-a\u015fk\u0131n-b\u00fct\u00fcn karma\u015f\u0131kl\u0131\u011f\u0131n\u0131 tam do\u011fan\u0131n kuca\u011f\u0131nda edebiyat\u0131n d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc g\u00fcc\u00fcyle aktarmaya \u00e7al\u0131\u015f\u0131yor.<\/span><\/strong><\/p>\n

\u0130nsan kendini onulmaz, yarat\u0131\u011f\u0131ms\u0131 ac\u0131 \u00e7eken bir varl\u0131k bellediyse e\u011fer, ne kal\u0131r d\u00fc\u015ften geriye? Ge\u00e7mi\u015fte ya\u015fan\u0131lan ve hem akl\u0131 hem bedeni geriye d\u00f6n\u00fclemeyecek bi\u00e7imde yar\u0131p ge\u00e7en travmadan e\u015fik atlayamamak durumunda, her \u015feye kar\u015f\u0131n ket vurulamayan d\u00fc\u015f dost mudur d\u00fc\u015fman m\u0131d\u0131r art\u0131k? Ge\u00e7mi\u015ften gelen hezeyanlarda do\u011fan\u0131n tam kuca\u011f\u0131nda Wordsworth\u2019yen bir ruhla ya da Tezer \u00d6zl\u00fc\u2019n\u00fcnk\u00fc gibi ruhundaki yaban\u0131ll\u0131kla yaz\u0131ya ve edebiyata s\u0131\u011f\u0131nmak geri verir mi d\u00fc\u015fleri? Peki ya ki\u015fisel bellek saf ac\u0131ya d\u00f6n\u00fc\u015fm\u00fc\u015fse ve d\u00fc\u015fler geri gelmiyorsa, bir \u00f6zg\u00fcrl\u00fck ihtimali olarak, kimli\u011fin salt y\u0131k\u0131ma seyretmesi, korkunun g\u00fc\u00e7lerine teslim olmas\u0131 ka\u00e7\u0131n\u0131lmaz m\u0131d\u0131r?<\/span> Bu noktada insan\u0131n mutlak bir abjeksiyona ka\u00e7mas\u0131 ve sonunda gelen ya da gelmeye yazan intihar meseleye bir ilmek daha atar. Burada \u00f6l\u00fcmden tomurcuklanan bir \u00f6zg\u00fcrl\u00fck tahayy\u00fcl\u00fc vard\u0131r. Dahas\u0131 bu tahayy\u00fcl, a\u015fk\u0131n ve edebiyat\u0131n i\u00e7inde konu\u015flanarak deniz sesinin, dalgan\u0131n kayaya k\u00f6sn\u00fcll\u00fc\u011f\u00fcn\u00fcn, yapra\u011f\u0131n h\u0131\u015f\u0131rt\u0131s\u0131n\u0131n, a\u011fac\u0131n kadimli\u011finin, ta\u015f\u0131n bilgeli\u011finin yan\u0131nda g\u00f6r\u00fcn\u00fcr olabilme \u00e7abas\u0131ndaysa konu daha da ilgin\u00e7le\u015fir. A\u015fk\u0131n i\u00e7inden yanarak ge\u00e7ip y\u0131k\u0131ma ve \u00f6l\u00fcme teslim olmadaki \u00f6zg\u00fcrl\u00fck ve ba\u015fkald\u0131r\u0131 ba\u015fka tan\u0131kl\u0131klarla m\u00fcmk\u00fcn olur. Zira ayak bas\u0131lan topra\u011f\u0131n, halkas\u0131nda ve g\u00f6lgesinde kim bilir ka\u00e7 hezeyanla kabuk ba\u011flayan a\u011fa\u00e7 g\u00f6vdesinin, kim bilir ka\u00e7 ya\u015fam umudunu dirilten ve bo\u011fan ak\u0131\u015fkan haf\u0131za suyun tan\u0131kl\u0131\u011f\u0131nda ac\u0131 ac\u0131y\u0131, a\u015fk a\u015fk\u0131 \u00e7eker ve bir pervane bir di\u011ferine g\u00f6\u00e7er. En nihayetinde ikisi de bu d\u00fcnyadan yitip gider. Geriye kalan ise ta\u015f\u0131n, a\u011fac\u0131n ve suyun haf\u0131zas\u0131d\u0131r; manzaran\u0131n nefes kesen mecnunlu\u011fu, dipteki s\u0131z\u0131, yaz\u0131ndaki esrik g\u00fc\u00e7 ve dildeki tortudur.<\/p>\n

Mehmet Ero\u011flu\u2019nun 2005 y\u0131l\u0131nda yay\u0131mlanan D\u00fc\u015f K\u0131rg\u0131nlar\u0131 <\/em>adl\u0131 roman\u0131ndan uyarlanan ayn\u0131 adl\u0131 filmi seyrederken bu d\u00fc\u015f\u00fcnceler geliyor akl\u0131m\u0131za. D\u00fc\u015f K\u0131rg\u0131nlar\u0131<\/em>\u2019n\u0131n y\u00f6netmeni, 2010 y\u0131l\u0131nda Sabahattin Ali\u2019nin \u201cAyran\u201d adl\u0131 \u00f6yk\u00fcs\u00fcn\u00fc de serbest uyarlayarak beyaz perdeye aktaran Selim G\u00fcne\u015f. Kar Beyaz<\/em>, k\u0131\u015f\u0131n en \u00e7etin ko\u015fullar\u0131nda bembeyaz sert \u00f6rt\u00fcy\u00fc s\u0131rt\u0131na ge\u00e7irerek ailesinin ge\u00e7imini sa\u011flamak amac\u0131yla ayran satan minik Hasan\u2019\u0131n \u00f6l\u00fcm-ya\u015fam \u00e7izgisindeki o m\u00fcthi\u015f m\u00fccadelesi ve Artvin\u2019in soylu-vah\u015fi duyumsal manzaras\u0131yla ve m\u00fczi\u011fiyle haf\u0131zalar\u0131m\u0131za kaz\u0131nm\u0131\u015ft\u0131. Selim G\u00fcne\u015f 2018 imzal\u0131 ikinci uzun metraj filmi D\u00fc\u015f K\u0131rg\u0131nlar\u0131<\/em>\u2019yla yine bir d\u00f6nem-atmosfer kurgusuyla kar\u015f\u0131m\u0131zda. Ancak bu kez insan\u0131n ve elbette insandan \u00e7\u0131kan en ilkel ve en temel duygu yo\u011funlu\u011funun-a\u015fk\u0131n-b\u00fct\u00fcn karma\u015f\u0131kl\u0131\u011f\u0131n\u0131 tam do\u011fan\u0131n kuca\u011f\u0131nda edebiyat\u0131n d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc g\u00fcc\u00fcyle aktarmaya \u00e7al\u0131\u015f\u0131yor.<\/p>\n

Filmin oyuncu kadrosu Mert Tan\u0131k, Denise Ankel, Bahar Yan\u0131lmaz, Cans\u0131 F\u0131r\u0131nc\u0131, Lil\u00e2 G\u00fcrmen, Bu\u011fra Ko\u00e7tepe gibi isimlerden olu\u015fuyor. G\u00fcc\u00fcn\u00fc hem lirik bir g\u00f6rsellikten \u2012ger\u00e7ekte G\u00fcne\u015f\u2019in usta foto\u011fraf sanat\u00e7\u0131l\u0131\u011f\u0131ndan\u2012 hem de y\u00f6netmenin sinema-edebiyat yak\u0131n ili\u015fkisini incelikli referanslarla \u00f6rmesinden alan film, tutunamayanlar\u0131n ve daimi kendine e\u011freti bi\u00e7imde te\u011felli ya\u015famlar\u0131n hikayesini anlat\u0131yor bize. 12 Eyl\u00fcl d\u00f6neminde g\u00f6rd\u00fc\u011f\u00fc a\u011f\u0131r i\u015fkenceden sonra hem kendine hem hayata s\u0131rt \u00e7eviren Kuzey, Fo\u00e7a\u2019ya yerle\u015fir ve kendi gibi da\u011f\u0131n\u0131k, ayakta zor durabilen otelin i\u015fletmecili\u011fini s\u00fcrd\u00fcr\u00fcr. Ayn\u0131 zamanda D\u00fc\u015f K\u0131rg\u0131nlar\u0131 ad\u0131nda bir roman yazma \u00e7abas\u0131ndad\u0131r. Kuzey\u2019in yan\u0131nda \u00fcniversite y\u0131llar\u0131ndan bu yana onu hi\u00e7 yaln\u0131z b\u0131rakmayan yak\u0131n dostu Sami vard\u0131r. Sami, zaman\u0131nda ald\u0131\u011f\u0131 kur\u015fun yaralar\u0131ndan dolay\u0131 iki baca\u011f\u0131ndan sorun ya\u015far, koltuk de\u011fnekleriyle ya\u015fam\u0131n\u0131 s\u00fcrd\u00fcr\u00fcr. \u0130\u00e7inde bulundu\u011fu durumda hayattan b\u00fct\u00fcn beklentilerinden vazge\u00e7mi\u015f Kuzey\u2019in yan\u0131nda ya\u015far. Sami hem onun hem de otelin d\u00fc\u015ft\u00fc\u011f\u00fc k\u00f6t\u00fc duruma \u00e7ok \u00fcz\u00fcl\u00fcr ve otelin kar getirecek \u015fekilde sat\u0131\u015f\u0131 i\u00e7in bir \u015feyler yapmak ister. G\u00fcn\u00fcn birinde tek hayali d\u00fcnyay\u0131 gezmek, okyanusa ka\u00e7mak, Asya\u2019y\u0131, Afrika\u2019y\u0131 g\u00f6rmek isteyen, g\u00f6zlerinden ya\u015fam f\u0131\u015fk\u0131ran Alman-T\u00fcrk gen\u00e7 bir kad\u0131n\u0131n, \u015eafak\u2019\u0131n, otele gelmesi ilkin Kuzey\u2019in ve ard\u0131ndan b\u00fct\u00fcn otel sakinlerinin (ba\u015fta Sami, Handan Han\u0131m ve otele \u015eafak\u2019\u0131n ard\u0131ndan gelen ve bir yan\u0131yla Kuzey\u2019e vurulan \u00c7i\u011fdem) hayat\u0131n\u0131 tamamen de\u011fi\u015ftirir. Hayata k\u00fcsk\u00fcn Kuzey ile y\u00fcz\u00fcn\u00fc d\u00fcnyaya \u00e7evirmi\u015f, b\u00f6lgeye eski Rum k\u00f6ylerini ara\u015ft\u0131rmak i\u00e7in gelen \u015eafak\u2019\u0131n a\u015fk\u0131, 78 ku\u015fa\u011f\u0131n\u0131n itiraflar\u0131n\u0131n g\u00f6lgesinde ve hayaletinde boy atmaya \u00e7al\u0131\u015f\u0131r ancak atamaz. Kuzey\u2019in ruh ikliminde \u015fu s\u00f6zler bulut olup damlalar\u0131n\u0131 b\u0131rak\u0131r yery\u00fcz\u00fcne: \u201cEvet, devrim yapamad\u0131k. \u0130yi \u00e2\u015f\u0131klar olamad\u0131k. Bizim ku\u015fak ben diyemeyen varsa yoksa biz diyen bir ku\u015fak\u2026 \u0130nsanl\u0131\u011fa hep inand\u0131k. Yery\u00fcz\u00fcne de\u011fil g\u00f6ky\u00fcz\u00fcne ait bir ku\u015fak.\u201d Eksik devrimci-eksik \u00e2\u015f\u0131k damlalar\u0131nda sonunda bo\u011fulmak zorunda kalan \u015eafak ve ard\u0131nda b\u0131rakt\u0131\u011f\u0131 b\u00fcy\u00fck enkaz, filmdeki ve ana karakterdeki derin melankoliyi sadece daha da siyaha boyar. Kuzey, \u015eafak\u2019la bulu\u015fmak i\u00e7in ad\u0131m ad\u0131m \u00f6l\u00fcme do\u011fru seyreder; Fo\u00e7a\u2019n\u0131n e\u015fiz do\u011fas\u0131nda, serin sular\u0131nda s\u00f6z\u00fcn g\u00fcc\u00fc, edebiyat\u0131n sesi kal\u0131r geriye.<\/p>\n

G\u00fcne\u015f\u2019in bize sundu\u011fu incelikli sinema-edebiyat \u00f6r\u00fcnt\u00fcs\u00fcne ge\u00e7meden \u00f6nce de\u011findi\u011fimiz ruh iklimini biraz daha a\u00e7makta yarar var. Zira bu ruh iklimi ilkin bir k\u0131s\u0131r d\u00f6ng\u00fcye ve tek y\u00f6nl\u00fcl\u00fc\u011fe i\u015faret ediyor gibi g\u00f6r\u00fcnse de, film farkl\u0131 okumaya m\u00fcsait. Film boyunca Kuzey\u2019in \u015eafak\u2019a hissettikleri ve olamay\u0131\u015flar silsilesi tam da Kuzey\u2019in a\u011fz\u0131ndan d\u00f6k\u00fclen yukar\u0131daki s\u00f6zler nedeniyle g\u00f6ky\u00fcz\u00fcne aittir ve bir h\u00fclyadan \u00f6tesine ge\u00e7mez, ge\u00e7emez. Ge\u00e7mi\u015fin hayaleti bug\u00fcndedir, yarat\u0131\u011f\u0131ms\u0131 varl\u0131k bug\u00fcndedir ve daimi olarak kendinin hem imkanl\u0131\u011f\u0131n\u0131 hem imk\u00e2ns\u0131zl\u0131\u011f\u0131n\u0131 g\u00f6zler \u00f6n\u00fcne serer. Ger\u00e7ekte Kuzey\u2019in bu s\u0131k\u0131\u015fm\u0131\u015fl\u0131\u011f\u0131n\u0131, \u201ck\u0131r\u0131lgan erkeklik\u201d durumlar\u0131n\u0131 abjeksiyona bilin\u00e7siz bir ka\u00e7\u0131\u015f olarak da okumak m\u00fcmk\u00fcnd\u00fcr. Abjeksiyon Julia Kristeva\u2019n\u0131n kuramsalla\u015ft\u0131rd\u0131\u011f\u0131 gibi, \u00e7ocu\u011fun ba\u015flang\u0131\u00e7taki geli\u015fmemi\u015fli\u011finin, onu ba\u011f\u0131ml\u0131 k\u0131ld\u0131\u011f\u0131 annelik i\u015flevinden kendisini ay\u0131rma gereksinimidir. Ger\u00e7ekte kastrasyon endi\u015fesinden \u00f6nce kendini g\u00f6steren bir kay\u0131p \u00f6rne\u011fi olarak toptan yok olma tehdididir abjeksiyon. G\u00f6rd\u00fcklerimizde ve duyumsad\u0131klar\u0131m\u0131zda benlik duygumuzun s\u0131n\u0131rlar\u0131n\u0131 sorgulamam\u0131za neden olan (\u00f6rne\u011fin bir cesetle ya da korkun\u00e7 a\u00e7\u0131k bir yarayla y\u00fcz y\u00fcze geldi\u011fimizde hissetti\u011fimiz i\u011frenme hali ve korku) abjeksiyonda varolu\u015f tehdit alt\u0131nda kal\u0131r. \u0130lgin\u00e7 olan \u015fudur ki bu tehdit \u00e2n\u0131 salg\u0131lad\u0131\u011f\u0131 y\u00fcksek adrenalin nedeniyle belki de \u00e7ok y\u00f6nl\u00fc alanlara yol verir. Bu konu \u00fczerine \u015funlar\u0131 s\u00f6yler Zeynep Direk: \u201cAbjeksiyon ili\u015fkisi derken temel bir mu\u011flakl\u0131\u011f\u0131 d\u00fc\u015f\u00fcnd\u00fcrmek istiyorum. Hem bir h\u00fcrmet ve sayg\u0131, \u00f6tekine konu\u015fma hakk\u0131 tan\u0131ma hem de bir i\u011frenme ve kendinden k\u00fc\u00e7\u00fck g\u00f6rmenin bir aradal\u0131\u011f\u0131. Hem bir fark\u0131 y\u00fcceltme ve neredeyse kutsalla\u015ft\u0131rma hem de onu f\u0131rlat\u0131p \u00e7\u00f6pl\u00fc\u011fe atabilecek kadar de\u011fersizle\u015ftirebilme\u201d (Amargi Dergi<\/em>, 2011). Kuzey, hem kendi fark\u0131n\u0131, ba\u015fka deyi\u015fle 78 ku\u015fa\u011f\u0131n\u0131 y\u00fcceltir, hem de kendini son derece k\u00fc\u00e7\u00fck g\u00f6rerek kendini ya\u015famdan silip atma arzusu ta\u015f\u0131r. Filmde hissetti\u011fimiz b\u00f6ylesi bir sal\u0131n\u0131m ve mu\u011flakl\u0131k, abjeksiyondan ve belki \u00f6l\u00fcmden do\u011fabilecek bir \u00f6zg\u00fcrl\u00fck ihtimalini g\u00f6zler \u00f6n\u00fcne serer. Elbette Kuzey ve \u015eafak\u2019\u0131n a\u00e7mazlarla dolu a\u015fk\u0131 i\u00e7inden bir parlay\u0131verip bir s\u00f6nen \u00f6zg\u00fcrl\u00fck aray\u0131\u015flar\u0131 ve tercihleri ayn\u0131 de\u011fildir. \u015eafak, k\u00f6rk\u00fct\u00fck \u00e2\u015f\u0131k oldu\u011fu adam\u0131n ve 78 ku\u015fa\u011f\u0131n eril kodlar\u0131 i\u00e7inde kendini ve hayallerini denizin dibine bat\u0131rmak zorunda kal\u0131r. Bu anlamda a\u015fk, \u00f6l\u00fcm, yaln\u0131zl\u0131k, kendine s\u00fcrg\u00fcnl\u00fck gibi soyut temalar\u0131 toplumsal cinsiyet kurgular\u0131ndan ba\u011f\u0131ms\u0131z d\u00fc\u015f\u00fcnmemek gerekir. Filmin bir di\u011fer okumas\u0131 da tam bu noktadan a\u00e7\u0131labilir. G\u00fcne\u015f\u2019in uyarlamadaki bize sundu\u011fu a\u00e7\u0131kl\u0131k bu anlamda ger\u00e7ekten elveri\u015fli.<\/p>\n

Filmin daha ilk karesinde \u0130spanyol \u015fair ve oyun yazar\u0131 Federico Garc\u00eda Lorca\u2019n\u0131n \u015fu s\u00f6zleri kar\u015f\u0131lar bizi: \u201cPeki. Ho\u015f\u00e7a kal. A\u015fk\u0131 ar\u0131yorsun sen. Bense \u00f6l\u00fcm\u00fc.\u201d Bu s\u00f6zlerle birlikte k\u0131rm\u0131z\u0131 bir fular suyun alt\u0131nda yava\u015f\u00e7a sal\u0131n\u0131r, suyun haf\u0131zas\u0131na kar\u0131\u015f\u0131r. Filmin a\u00e7\u0131l\u0131\u015f\u0131nda Tarkovsky\u2019nin Stanislav Lem\u2019den uyarlad\u0131\u011f\u0131 Solaris\u2019ten bir sahneyi izleriz: \u201cHay\u0131r, zararl\u0131 de\u011fil. Tabii ki zararl\u0131 de\u011fil. Tolstoy\u2019u hat\u0131rl\u0131yor musun? Tolstoy\u2019un ac\u0131s\u0131 t\u00fcm insanlar\u0131 sevememenin ac\u0131s\u0131 m\u0131yd\u0131?\u201d G\u00fcne\u015f\u2019in insanl\u0131k hallerini ve a\u015fk\u0131 ilkin Tarkovsky\u2019nin ilme\u011finden ge\u00e7irip Lorca ve Tolstoy al\u0131nt\u0131lar\u0131yla dam\u0131tarak seyirciye aktarmas\u0131 film boyunca keyifle izini s\u00fcrece\u011fimiz sinema-edebiyat dostlu\u011fu duraklar\u0131ndan sadece birka\u00e7\u0131. Pablo Neruda\u2019n\u0131n Kaptan\u0131n Dizeleri <\/em>adl\u0131 kitab\u0131ndan \u201c\u00d6l\u00fc Kad\u0131n\u201d \u015fiiri, Arkada\u015f Z. \u00d6zger\u2019in insan\u0131 onduran, ac\u0131ya saran ve umudu ku\u015fatan sesi, Tezer \u00d6zl\u00fc\u2019n\u00fcn ya\u015fam\u0131 \u00f6l\u00fcmle \u00f6l\u00fcm\u00fc de ya\u015famla sarmalayan, kendi var olu\u015funu \u00f6l\u00fcme ili\u015ftiren ayr\u0131ks\u0131 ruhu, kaosun \u015fairi Jim Morrison\u2019\u0131n \u00f6l\u00fcm ve \u00f6l\u00fcml\u00fc olma bilinci ve en sonunda kahraman Kuzey\u2019in kendi yazd\u0131\u011f\u0131 D\u00fc\u015f K\u0131rg\u0131nlar\u0131. Bu duraklar\u0131n hepsi G\u00fcne\u015f\u2019in senaryo yaz\u0131m\u0131nda ve y\u00f6netmenli\u011finde ilham ald\u0131klar\u0131ndan ve seyirciye ula\u015fmas\u0131n\u0131 istediklerinden. \u00d6zellikle diyaloglarda dikkatli bir edebiyat okurunun ka\u00e7\u0131rmayaca\u011f\u0131 g\u00f6ndermeler tek y\u00f6nl\u00fc bir uyarlaman\u0131n \u00f6tesine ge\u00e7erek metinleraras\u0131 bir yolculu\u011fa \u00e7\u0131kar\u0131r seyirciyi.<\/p>\n

En nihayetinde b\u00fct\u00fcn bu g\u00f6ndermeler filmin duyumsal g\u00f6rselli\u011fiyle daha da g\u00fczelle\u015fir. \u0130lk ba\u015fta de\u011findi\u011fimiz ta\u015f\u0131n, suyun, yapra\u011f\u0131n, ba\u015fka deyi\u015fle maddenin kendi iradesinin tan\u0131kl\u0131\u011f\u0131nda bir tutunamayanlar yolculu\u011fudur D\u00fc\u015f K\u0131rg\u0131nlar\u0131<\/em>. Ero\u011flu\u2019nun siyasi a\u00e7\u0131dan daha katmanl\u0131 ve yo\u011fun i\u00e7eri\u011fi, \u00f6rne\u011fin Kuzey ve Sami\u2019nin devrimci gen\u00e7lik y\u0131llar\u0131, ac\u0131, \u00f6fke ve isyan dolu 12 Eyl\u00fcl hik\u00e2yeleri ve betimlemeleri G\u00fcne\u015f\u2019in uyarlamas\u0131nda \u00e7ok daha yumu\u015fak bir hal al\u0131r. Bu se\u00e7imi sevip sevmemek seyirciye kal\u0131r. Ancak bu haliyle, toprak yolda araba tekerleklerinin ard\u0131ndan u\u00e7u\u015fan \u00e7\u00f6p torbas\u0131, denizin dibine \u00e7\u00f6ken k\u0131rm\u0131z\u0131 fular, her ac\u0131yla yeniden d\u00f6nen mor f\u0131rd\u00f6nd\u00fc oyuncak, kay\u0131\u011fa \u00e7iziktirilen y\u00fcrek sanc\u0131lar\u0131, bah\u00e7e \u00e7itlerinden yank\u0131lanan kavu\u015fmalar ve ayr\u0131l\u0131klar, kahveyle s\u00fct\u00fcn dans\u0131 G\u00fcne\u015f\u2019in sinemas\u0131nda art\u0131k yeri belli, incelikli ve duyumsal bir dilin ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131n habercisidir.<\/p>\n

*** http:\/\/oggito.com\/icerikler\/dus-kirginlari-doganin-kucaginda-kendine-tegelli-yasamlar-ve-bir-ozgurluk-ihtimali-olarak-abjeksiyo\/62991<\/p>\n","protected":false},"excerpt":{"rendered":"

oggito.com, 2018.07.04 Selim G\u00fcne\u015f, 2018 imzal\u0131 ikinci uzun metraj filmi D\u00fc\u015f K\u0131rg\u0131nlar\u0131\u2019yla yine bir d\u00f6nem-atmosfer kurgusuyla kar\u015f\u0131m\u0131zda. Ancak bu kez insan\u0131n ve elbette insandan \u00e7\u0131kan en ilkel ve en temel duygu yo\u011funlu\u011funun-a\u015fk\u0131n-b\u00fct\u00fcn karma\u015f\u0131kl\u0131\u011f\u0131n\u0131 tam do\u011fan\u0131n kuca\u011f\u0131nda edebiyat\u0131n d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc g\u00fcc\u00fcyle aktarmaya \u00e7al\u0131\u015f\u0131yor. \u0130nsan kendini onulmaz, yarat\u0131\u011f\u0131ms\u0131 ac\u0131 \u00e7eken bir varl\u0131k bellediyse e\u011fer, ne kal\u0131r d\u00fc\u015ften geriye? […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[28],"tags":[],"_links":{"self":[{"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/posts\/2017"}],"collection":[{"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/comments?post=2017"}],"version-history":[{"count":5,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/posts\/2017\/revisions"}],"predecessor-version":[{"id":3187,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/posts\/2017\/revisions\/3187"}],"wp:attachment":[{"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/media?parent=2017"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/categories?post=2017"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/selimgunes.com\/wp-json\/wp\/v2\/tags?post=2017"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}