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Dva brata i žena u montažnoj kući. Može se osjetiti međusobna bliskost, ako ne i pretjerana, u Tunç Davutovom filmu Entanglement, koji je imao svjetsku premijeru u sklopu Takmičarskog programa Sarajevo Film Festivala 2015. godine. Stariji brat, Kemal (Muhammet Uzuner), bivši osuđenik, jednog dana se pojavljuje sa Nalân (Defne Halman), koja se od tog trenutka u njihovoj kući osjeća "kao kod kuće". Samim tim, mlađi brat, Cemal (Baran Sukru Babacan) je u nezgodnoj poziciji. Dva brata se veoma razlikuju, ako nisu i potpuno drugačiji. Jedan je grub i sirov, a drugi nježan i osjećajan, što je očigledno i prema njihovom fizičkom izgledu. Kako se može i predvidjeti, prisustvo ženske osobe postaje izazov za svakako krhku relaciju između braće. Prvi utisak je da ovo može zvučati kao dobra osnova za jednu dramatičnu sapunicu, ali u stvari je potpuno suprotno. Davutov debi je jedno kamerno djelo u najboljem ili najlošijem izdanju, u zavisnosti od perspektive.  

Čvor; režija: Tunc Davut; uloge: Muhammet Uzuner, Defne Halman, Baran Sukru Babacan; 2015.

Odličan aspekt filma je njegov lagan scenario. Gotovo nijemi odnos se razvija između likova koji umjesto riječi koriste pokrete i mimiku, kao da se niko ne usuđuje ili čak ni ne želi da verbalizuje svoje misli. Nije slučajnost što se najveći dio dijaloga odvija telefonski, u fizičkom odsustvu drugog sagovornika i isključivo je ostavljeno gledaocu da ispuni praznine između redova. Kada tri lika uspijevaju da razgovaraju međusobno, njihovih riječi je malo i između njih su velike pauze, ali u kombinaciji sa Tavutovim dugim kadrovima i minimalnim pokretima kamere, značenje tih riječi postaje sve teže. Može se reći da verbalni aspekt pokreće samu priču u ovom potcijenjenom filmu. Vrlo brzo, prikaz događaja pretvara se u cjepidlačenje. Ritam sporog razvijanja radnje, smješten u jednu prostoriju i bez mnogo verbalne tenzije, dodatno se usporava do trenutka zaustavljanja. Likovi nisu od krvi i mesa, kakvi bi trebalo da budu, već jedva oživljeni, što se ponekad čini kao ogroman pritisak na glumce, koji se bore da postignu maksimalan potencijal dramatičnosti. Svrha uvrštavanja psa u film je dodatni prikaz različitosti senzibiliteta ova tri lika, ali priča ne uspijeva da se razvije dalje od njihovog površnog predstavljanja. Entanglement je stilski veoma sličan filmovima Ceylana (Distant/Uzak, 2002; Winter Sleep/Kis uykusu, 2014). Imaju slične ritmove, ali Ceylanova izvedba je znatno bolja prije svega zbog solidnije priče, kompaktnije strukture i kompleksnijih dijaloga.

U Davutovom slučaju, scene i raspoloženja prebrzo počinju da se ponavljaju, skoro na šablonskom principu. Uprkos iznijansiranom scenariju, zamišljeni pravac čini se preambiciozan, pa se može ironično zaključiti da je premalo zapleta u Čvoru.

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Entanglement: Little entangling in overambitious “Entanglement”

Written by: Miro Frakić Translation: Bojana Pušara

Two brothers and one woman in a remote house. It might feel rather familiar, if not too familiar a set-up in Tunç Davut's Entanglement, that got its world première as part of the 2015 competition of the Sarajevo Film Festival. The elder brother, Kemal (Muhammet Uzuner), an ex-convict, returns one day with Nalân (Defne Halman), who immediately makes herself comfortable in his home. This puts the younger brother, Cemal (Baran Sukru Babacan), in an uncomfortable position. The two brothers are very different from each other, if not complete opposites; one is harsh and raw, the other one is gentle and sensitive, which is also reflected in their physique. Predictably, with a female, motherly presence around, their fragile relationship is put to the test. On the surface, it might sound very good a base for an overdone 'soapish' drama; however the reality of it is quite different. Davut's debut is a chamber piece at its best and at its worst, depending on the perspective.

Entanglement; director: Tunc Davut; cast: Muhammet Uzuner, Defne Halman, Baran Sukru Babacan; 2015

What is excellent about the film is its tight script. A rather taciturn affair unfolds between the characters who interact almost exclusively through gestures and facial expressions, as if nobody dares or wants to or even can speak their mind. It is no coincidence that the greatest portion of dialogue takes place over the phone, with the other speaker absent, and it is ultimately up to the viewer to fill in the blanks between the lines. When the three do manage to talk to each other, their words are few and far between but—combined with Tavut's long shots and minimalist camera movement—are all the heavier. In fact, the verbal aspect can be said to push the narrative forward in this understated feature. Thanks to the nuanced script, the plot starts off nicely, with a smooth flow.

However, very soon, the film falls prey to its subtleties. Its slow-burning pace, when put into the chamber set-up and without much dialogue tension, is sure to slow even more – to the very point of extinguishment. The characters are not very fleshed-out, barely given in hints, which sometimes might feel too big a pressure on the actors. They struggle to bring the dramatic potential to its fullest. There is also the dog serving to shed more light on the three characters' different sensibilities, but the plot does not manage to go beyond their simplified representations. Entanglement is stylistically very akin to his compatriot Ceylan (Distant/Uzak, 2002; Winter Sleep/Kis uykusu, 2014). It has similar pacing but which, with Ceylan, overall fares much better due to a more substantial narrative, compact structure, and complex dialogues. In Davut's case, the scenes and the moods soon begin to repeat themselves, almost in a loop of sorts. Despite the nuanced script, the direction seems a bit too ambitious for the narrative and so there is, ironically, very little entangling in Entanglement.