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簡(jiǎn)介：艾迪耶特是一部當(dāng)代驚悚片，描繪了一個(gè)刑事案件，盡管它與一部類型電影恰恰相反。一個(gè)男人以清醒的口供口吻發(fā)出了一個(gè)畫(huà)外音，他重建了他未來(lái)岳母的謀殺案。根據(jù)女兒，他的情人的意愿，他雇傭了一個(gè)合同殺手來(lái)謀殺她，因?yàn)樗磳?duì)他們的關(guān)系。電影中所有的情節(jié)都是造成悲劇的原因：一個(gè)整潔的公寓，安卡拉的汽車站，停車場(chǎng)，走廊，謀殺受害者的床……在返回伊斯坦布爾的路上，夜晚的高速公路變成了一個(gè)屏幕，在屏幕上投射出一個(gè)生活在良心上的人可怕的內(nèi)心折磨。然后這部電影改變了視角，展示了這對(duì)情侶是如何相遇的，以及血腥行為之前發(fā)生了什么。這些看似無(wú)害的圖像和對(duì)話會(huì)受到觀眾先前知識(shí)的影響，就像精神病一樣。為什么神秘的佩林如此恨她的父母？這是電影無(wú)法回答的問(wèn)題。在艾迪耶特，伯克·埃維克對(duì)觀眾的偵探?jīng)_動(dòng)進(jìn)行了一次優(yōu)雅、刺激和本能的實(shí)驗(yàn)。Aidiyet is a contemporary thriller that maps out a criminal case, though it’s the very opposite of a genre film. In a voice-over delivered in the sober tone of a confession, a man reconstructs the murder of his future mother-in-law. Acting on the wishes of her daughter, his lover, he hired a contract killer to murder her because she opposed their relationship. All that the film shows are the many locations that make up the tragedy: a tidy apartment, the bus station in Ankara, the parking lot, the hallway, the murder victim’s bed… On the way back to Istanbul, the motorway by night becomes a screen onto which the terrible inner torment of someone with a life on his conscience is projected. Then the film changes perspective and shows how the lovers met and what preceded the bloody deed. These seemingly harmless images and conversations become charged by the viewer’s prior knowledge, as if in a psychosis. Why did the mysterious Pelin hate her parents so much? That’s a question the film doesn’t answer. In Aidiyet, Burak Çevik conducts an elegant, exciting, and instinctual experiment with the detective impulses of his audience.…