The stories in the film take place in parallel realities where people live only for a very limited time as one character. The memories of the people are erased periodically and replaced with new ones.
Seintn’s memories can not be entirely deleted therefore he suffers from multiple personality syndrome and he has no other way but to live with the bits and pieces of the memories of other people. He lives in oblivion to his condition. He is unaware of the fact that he is a serious threat to the order in the society. The investigators are after him for the “crimes” he has committed. They suspect that he is a delirious serial killer who is responsible for numerous crimes and murders.
OZAN ADAM'S FEATURE FILM "FOR THE BLINDS" WINS SPECIAL
MENTION JURY AWARD AT THE INDIAN CINE FESTIVAL
Writer and director Ozan Adam, known as an artist, author and award-winning filmaker of various genres (such as experimental, documentary, animation, video-art installations, music videos and short films) showing at solo and collective international exhibitions, museums and galleries, has won the Special Mention Jury Award with his feature film "For The Blinds" at the International Indian Cine Festival in Mumbai, India.
This film has a unique place in the history of Turkish cinema because it is the first internationally awarded, feature length Turkish science fiction film, that is not a comedy, a cult, an animation or a re-make. The film was highly appreciated by the audiences and received phenomenal reviews.
In his film review titled “You haven’t seen a Turkish film like this!”, Kerem Akça writes that “For The Blinds” is the best national film of the Istanbul Film Festival.
“Our (Turkish) science-fiction productions, have not ventured beyond the realm of cult films, such as 'Tourist Ömer' and 'Badi', and can only be considered ‘innovative’ relative to their category. 'For The Blinds' is incomparable to anything seen before, as it runs on with its ‘experimental- guerilla transplanted memory science-fiction pattern within a Cold War atmosphere.’ In this way, it becomes a milestone of our national science- fiction history, within its independent soul.
Director Ozan Adam most likely appreciates what Chris Marker did with photographs in 'La Jetee' (1962). He is most probably familiar with pioneers of experimental cinema, such as Stan Brakhage and Maya Deren. Yet, he’s building his film on moments, inter-titles and independent scenes. Moreover, he succeeds in completing it all in 94 minutes.
Drifting upwards, it explores questions about issues such as ‘manufactured memory’, ‘memory creation’ and ‘parallel universes’.
Its kinship with 'The Illustrated Man' (1969) under the light of the ‘parallel universe’ concept is a controversial assumption. But, Ozan Adam establishes a connection with the pattern of science-fiction ‘that wanders through the subconscious’. We can relate to this wandering through films such as 'Zardoz' (1974), 'The Quiet Earth', (1985), 'Total Recall', (1990), 'Abre Los Ojos', (1997).
VOICEOVER, FORMAT EXPLOSION AND NO DIALOGUE
All the while, he is never stuck within a single traditional format. On the contrary, he is over equipped with a nostalgic spirit. Adam fills us with scenes shot in formats such as black & white, color, 16 mm, video, DV. The granularity and quality rates of the images start to be meaningful. The domination of inter-titles, superimpositions and objectives jammed into tight spaces are connected to narrator’s voice through a ‘no dialogue’ period of 25 minutes. From that period on, the 'clean slate' mind is fragmented into pieces with the 'mind re-setter'. As a result of this, we are faced with a world scene more complex than the dreams. The warning messages that begin to appear, build up to a detective story. It is out of the ordinary to watch such an introduction, which is almost out of a Dashiell Hammett story: graciously embraced by the ship of industrialization, that resembles the beginnings of steampunk.
FRAGMENTED MOMENTS KEEP THE ATTENTION AFLOAT
The eclectic memory visions in the last one-hour are especially important. An example of such creative innovations are when the swinging cameras focus on a lion having sex with a nurse (after an instantaneous right pan and zoom), or when a man is beating ‘invisibility’ under a street lamp. Adam establishes a nice balance between the beginning and the end.
AS IF DEREN, BRAKHAGE and HARTLEY CAME TOGETHER
The experimental work in the manner of Maya Deren and Stan Brakhage ultimately starts to roll elegantly with a well articulated story. It is a work that establishes a kinship mostly with the guerilla science-fiction successes such as 'Upstream Color' (2013) and 'Another Earth' (2010). 'For the Blinds' is valuable because of its construction of 'Total Recall’s action mise-en-scene with an independent spirit.
It is truly a successful work from effects to editing... It creates a 'hand- made' (artisanal) impression with its narrator’s silent film components.
In the final scene, the split screen ‘looking at the stage through the binoculars’ is a little bit reminiscent of 'Holy Motors' (2012) and a bit of 'Mulholland Dr.' (2001). (Yet their film was perceived before those two films.) But the film is not pursuing a real mystery. It says out loud what it is going to do, from the beginning, in capital letters. And continues birthing more and more ideas as it moves along its path.
This is a situation that could only occur if Hal Hartley were to shoot a science-fiction film and would direct 'Total Recall', with the 60's independent spirit. It also draws attention to the ‘Cold War’ fear that could come with a monopoly-based system."
stanbul Contemporary Art Museum, Film Screening
33rd Istanbul Film Festival, New Turkish Cinema
Solo screenings / It Is Not A Pipe & The Things I Could Not Shoot Exhibitions Solo screening / Fol Film Screening European Center
Indian Cine Festival, Mumbai, India, Special Mention - Jury Award