As a photographer, director Ceylon has both traces of Iranian naturalism and temperament of European film philosophy and aesthetics in his photography style. The opening of Anatolia is a long and charming long shot. In the dark and open distance, the lights alternately projected by three cars when turning have a unique aesthetic feeling. Such a shot is enough to prove a director's amazing sensitivity to the camera. After that, the careful slow motion in a fixed position, the smooth one-stop editing he is good at, and the long and ethereal poetic picture make people sigh that the director's mastery of lens control is simply perfect. He is enough to express Eliot's poem The Waste Land with a mirror image.
The story of Anatolia itself is not complicated, and the process of finding a place to hide the body, but in this process, the relationship between all participants and prosecutors is subtle and real. Even if Ceylon returns to the countryside, the rural life experienced by the city representative prosecutor in the film directly implies the profound influence of urbanization. In order to improve conditions, people complain to prosecutors from different channels. Burrow, a remote rural mountainous area, is the background of this film. Under the lens of Ceylon, these backgrounds are covered with a layer of sad color, and the faint halo is like a shadow in the hearts of local people.
There are many close-ups of people in the film, especially the interaction between prosecutors and doctors. On the surface of the story of body search led by prosecutors, there is another story about death. The prosecutor told the doctor about the death of a woman, and the breakdown of the story was not known until the end of the film. The deceased was the prosecutor's wife. She committed suicide. "Is the purpose of someone committing suicide to make the living feel guilty?" This is the question that the prosecutor asked the doctor. There are two kinds of death in movies, real and dialogue. Some people are dead, others are still alive. These two interactive stories are not closely related, but every discussion of this death has become the main driving force to continue and support the development of the plot. Ceylon's close-up of the characters in this film is calm and vivid. Static and exquisite pictures, certain blank spaces and distant backgrounds are all designed to set off the inner feelings of the characters. This expressive lens also reflects Ceylon's perfect directing skill.
The director's editing and plot connection showed no flaws. The apple slowly rolled down the grass slope, fell into the stream, and then went down the river until it stopped in the middle of the stream. The car approaches the picture from a winding path in the distance, and then drives away; The close connection of each turn when the characters walk at the corner of the corridor. In addition to long shots, the perfect editing of multi-angle shots also makes the director realize the truth in the film. (Tencent Online Review)