Festival de Cannes 2023 | About Dry Grasses

Nuri Bilge Ceylan’s films are known for their meticulous attention to detail and introspective exploration of the human psyche. His latest work, “About Dry Grasses,” has generated significant buzz and earning positive reviews. Although it fell short of bringing Ceylan his second Palm d’Or, it won a crucial acting award.

Cannes is renowned for showcasing cinematic wonders, and this year’s surprise gem that has captivated audiences for over three hours is none other than Ceylan’s “About Dry Grasses.” As with his previous films, this philosophical and existential masterpiece delves deep into the psychological layers of its characters, exposing their inner conflicts against the backdrop of a remote rural community covered in a blanket of snow.

The film narrates the story of a teacher who is transferred from bustling Istanbul to this isolated village to teach art at the local school. Overwhelmed and yearning for escape from this cold and confined environment, the teacher’s quest for liberation unfolds as the surface narrative. However, beneath this facade lies a deeper connection that binds him to his surroundings.

Suspense, desire, tension, and anxiety permeate the film from its opening moments until its conclusion. Ceylan’s deliberate editing style amplifies these emotions, employing sudden cuts and jarring ellipses that keep the viewers on edge, mirroring the characters’ own internal struggles.

Influenced by Russian literature, Ceylan openly acknowledges the impact that renowned authors like Dostoevsky and Chekhov have had on his creative process. In “About Dry Grasses,” there are subtle echoes of Nabokov’s novel, “Lolita,” as the teacher forms an emotional bond with one of his students. However, Ceylan skillfully navigates the boundaries, avoiding the pitfalls of controversy and discomfort, ensuring that the film remains a nuanced exploration rather than a provocative exhibition.

Interestingly, Ceylan confesses that he hadn’t actually read Nabokov’s work but his inspiration for the movie stems from the manuscripts and memoirs of one of the screenwriters involved in the project, who had experienced a similar connection. The evocative details from these writings resonated with Ceylan, compelling him to embark on this filmmaking journey. Collaborating with his wife, Ebru Ceylan, and writer Akin Aksu, the team crafted an extensive script, twice the length of Ceylan’s previous film, “Winter Sleep.” Refusing to compromise its integrity, they filmed the entire script and later made selective edits during the post-production phase.

Nature, a recurring motif in Ceylan’s oeuvre, assumes a significant role in “About Dry Grasses.” The director’s affinity for winter and snowfall is evident once again, as the film begins in a snow-covered landscape. Ceylan chose snow for its nostalgic qualities, reminiscent of his own childhood, and its ability to convey fear and detachment from one’s surroundings. However, he deliberately shifts the focus from nature to the intricate nuances of human faces, believing that true beauty lies within the complexities of human face expressions.

Capturing the essence of these characters became Ceylan’s primary focus during the filmmaking process. Drawing from his background as a photographer, he meticulously crafted frames that showcased the characters’ subtle mood changes, perfectly synchronized with their internal transformations. These captivating portrait shots, even of characters with minimal roles, further establish a profound connection between the audience and the film’s protagonists.

In terms of storytelling, dialogue plays a pivotal role in “About Dry Grasses.” Ceylan’s commitment to authenticity led to extensive conversations that stretch for extended periods, sometimes lasting up to half an hour. The director dedicated substantial time to meticulously designing behaviors and expressions for the actors, analyzing each sequence repeatedly until he achieved the desired artistic effect.

Despite featuring a negative protagonist, Ceylan skillfully avoids creating animosity towards the character. He believes that negativity exists within every individual, and to label the character solely as negative would be self-deception. Similar to Dostoevsky’s characters, Ceylan exposes their darker sides while acknowledging their inherent complexity and humanity. “About Dry Grasses” serves as a poignant exploration of people’s inner insecurities, acknowledging the pervasive presence of insecurity in our leives.