Gezi Park and the surroundings, June 9th 2013
Screened at Olympia Film Society by the Rachel Corrie Foundation in 2013
Keşke Chris Marker olanları görseydi ve filme çekseydi... / I wish Chris Marker had seen and recorded what happened in Istanbul.
Review by Michael Sicinski:
"As some of you faithful readers know (and by "readers," in this case I mean frequent observers of ongoing patches of blank space, places where I have promised to post reviews but have long delivered none), I sometimes struggle to find the proper words to describe a film or video that nonetheless strikes me as meaningful or important. Typically we think of those moments -- the reaction that is clearly there but cannot yet form itself into interpretive language -- as being primarily visceral, gut-level. The work in question has accessed emotional reserves within us that we are unaccustomed to acknowledging, much less articulating. But this is not the only way in which words can fail us. There is also a more intellectual silence, when the object in question seems so self-sufficient that it's difficult to know what we can add to it with our critical discourse. That is to say, we know that the word is good, and well-made, and socially important. But it could be that there's a frank objectivity to the work itself that makes a lot of extra discussion redundant. I don't mean "objectivity" in the typical sense -- unbiased and based solely in empirical fact. I'm using the word much more in a materialist or sculptural sense. The work may be so precise in its aims that all we could do is explicate them, or just point.
Yoel Meranda's documentary essay, made in the midst of the Gezi Park protests in Turkey at the end of last May, is a clean piece of post-Marker "cine-tract" reportage. Meranda conveys the events (the growing public consensus against President Erdogan, the heavy-handed response), the experience of being in the thick of events on June 9, and, through his editing and phenomenological awareness, a broader sense of the current event in history. All this is felt, as you watch it, in part no doubt because Meranda was both thinking about it and feeling it while he was filming, and looking over his shoulder. See for yourself.
There. I'm pointing."