A film by Semir Aslanyürek
DIRECTOR & AUTHOR
Bülent Emin YARAR, Orhan AYDIN, Erdal SARI, Yetkin DİKİNCİLER, Canan ERGÜDER, Salih USTA, Halil DEMİR, Tansel DOĞRUEL, Süleyman KABAALİ, Gazi İSMAİLOĞULLARI, Ömer DURAN
While trying to escape their sins, three men’s paths cross when they hide in the same cave to shelter from a heavy storm; Süleiman (Erdal Sarı), who avenged his grandfather’s brutal death by killing the landlord responsible for it; Sheikh Abdullah (Orhan Aydın), who betrayed his blind followers while fleeing for fear of the bandits; Saffet (Bülent Emin Yarar), who tested the fidelity of his wife (Canan Ergüder) with lust upon his return from a military campaign. And these unacquainted sinners’ self-reckoning begins as they await their death in the cave blocked by a landslide.
Kaos is a three-fold story; each episode transcending into one another. Apart from some events and characters, the stories dissolve into each other around one main factor: The cave metaphor, which is believed to be told by the Prophet Mohammed. Each episode of Kaos is a sometimes-open-and-sometimes-tacit revelation of its characters’ motivations. As these motivations clash with their environment, a natural dramatic conflict arises; creating an ever-present theme in each episode. However, when these episodes are juxtaposed in a single film, one can see that it actually has a epic&lyric structure with multiple layers. The film’s fairy-tale-style narration is the ultimate evidence of the presence of an epos. Through this technique, “Kaos” is sometimes free-floating in the natural flow of the lyrical. Although the name suggests Taviani Brother’s film with the same title “Kaos, adapted from the Italian writer Pirandello’s stories, it is in fact much more closer to 1001 Nights, regarding its mystic and intercrossing foundation, combined with its style and its visual world. The fairy-tale structure of the story obliges the setting of Kaos to be well-handled. Therefore location scouting is highly important. The cast will be planned regarding the aforementioned 'fairy-tale’ structure. The set decoration, the costume department and the mise-en-scene will have to be 100% convincing. The main goal is to make sure that the film meets its audience and has a strong shot in the festival circles. Eventually, with its artistic perspective, story structure and color ‘saturnalia’, Kaos is a film that belongs to the Mediterranean culture.