She chose not to make agitation and not to make people feel sorry for the characters of the film. I think it is very courageous what Deniz did because she took a different path. I was comfortable with it and I was also proud of being part of such a film. Did you have any reservations about that or did you feel comfortable being part of such a powerful film?Ī: NO. Q: Most of the media conversation surrounding Mustang revolved around the politics of the film. But I am very glad and grateful that I had the chance to work with her and that it turned to a friendship like this. We always keep in touch but of course since we live in different places and we have other things to do unfortunately we cannot always hear from each other. Still I remember how much I enjoyed being with her all the time and listening to her stories, anecdotes and thoughts on everything.Īfter the film we became good friends. She is also very inspiring as a storyteller.
#ELIT ISCAN HOW TO#
She knows what she wants, her feet are on the floor and she knows how to get there. She is such a talented and powerful woman. They were all very kind, sincere and fun.
We really exchanged lot of things with the girls and with Deniz. How do you look back on your experience working on the film?Ī: IT was great. Q: We are now a couple of years separated from Mustang.
Prestridge² caught up with Turkish actress Elit İşcan to talk about her experiences on the film, working with director Deniz Gamze Erguven and her plans for the future. It’s a filmmaker’s invention, and it feels like one.MUSTANG was one of the best received films of 2015 and an instant arthouse favourite. For more broadminded moviegoers, the gambit tips a naturalistic tale toward unnecessary melodrama. You can see why the director goes there conservative audiences in Turkey and elsewhere might be inclined to side with the character unless he’s clearly presented as evil. As in all repressed societies, youth finds its own end-runs around adult hypocrisies, and here there’s a tryst in the family car that has the youngest sisters and the audience nervously holding their breath.Įrgüven only missteps when she reveals a much darker side to the uncle than is initially apparent. Making her debut with ease and confidence, Ergüven implicitly questions this society’s most fundamental assumptions: that women are responsible for men’s urges, that sex is danger, that control equals protection. When “Mustang” isn’t glorying in its central quintet, the governing emotion is a simmering fury. Only the baby of the family, Lale, sees she may have to drive her own life forward. A sense of futility descends upon the movie, and then despair, and then angry resistance. The sisters are soccer nuts but aren’t allowed to attend stadiums with men when there’s a women-only game in the city, they make a mass jailbreak that’s played for both suspense and comedy, the grandmothers and aunts monkey-wrenching the men from catching the girls on TV.Īny fumes of humor are burned away when the uncle starts marrying off the sisters one by one. “Mustang” thus becomes a study in the secret life of girls and a tutorial in the ways repression breeds rebellion.
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