Where does Yalmaz Gunay’s Path go through?


Adil Qadry

The way is the name of the film which is directed by Gunay and Sharif Goven, that film has discussed prospectively, the reason may refer to achieving the golden palm award of Can festival in (1982) in sharing with Costa Gavras who is a Greek-French director under the title (Missing).

The film becomes our company in the real world. When we say real production it doesn’t mean to talk about a stabilized truth and real life. The realism production is against the fact by using its materials and instruments, it focuses on the reality and the dream of change will be seen clearly, in this way, it protects the autonomy of a creation.

The autonomous production is far away from the ideology which narrates the real-life and will work to find an alternative. Although art cannot have such a capability to change the world, it can awake men and women to struggle for changing the world. So, art can illustrate which topic is real and which one is fiction.

The theme of the film concentrates on two notions, firstly, freedom, secondly, arresting.

A part of the film located in Emrali Island, five characters rolled in the film as a prisoner but their different cases are different, and they took permission for a short time in the jail while they obliged to return the prison on time. Those five people have to pass some Kurdish cities like Adana, Urfa, Amed, Bursa, Konya, Gaziantep, Firat, Birchek and Urna. Here geography has been shown which is Kurdistan, this geography has militarized by the Turkish power. The military controlled every scoter of life there.

Four of the arrested people have no any target while the antagonist character who was named Bumer had a goal of freedom with his beloved whose name was Gulbahar, he followed the wish of life and death, he is seeking after a utopia which is called freedom, a utopia that starts from a dream to alter the reality from the reality itself.

The way of Gunay was full of the dream in the real world. His goal is breaking the bases of stabilized reality to create a new reality from the art of challenge as a sign and the figure of the film, he says: smuggling is not a class range, it is the destruction of the phenomenon norms via passing the frontiers, hugging the nature, women, life and hope. The film shows different ways like, streets, mountains, railways, etc. the Gunay’s path doesn’t take us to the prisons, law and the norm of enforced power but it will support us to revolt like the character of Bumer which initiates alteration inside reality.

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