Film: One-Way to Tomorrow
Starring: Dilan Çiçek Deniz, Metin Akdülger
Director: Ozan Açıktan
Rating: ***
Reviewer: George Sylex
Overview - One-Way to Tomorrow (Expresso do Destino) has the characteristic of being the first original Turkish movie delivered by Netflix. With the duty of transmitting a tad bit of the Turkish picture to the general population of many streaming nations the lighthearted comedy by Ozan Açıktan, is an adjustment of the Swedish film How to Stop a Wedding (2015), next to no known outside the nation.
With attributes of an autonomous and simple film, the work is focused on two characters, Leyla (Dilan Çiçek Deniz) and Ali (Metin Akdülger), who meet in the lodge of a train from the capital Ankara towards the city Izmir, during a 14h excursion. That is, sufficient time for two people to discover somewhat more about one another. Despite the fact that from the start takes after Richard Linklater's great Before the Dawn (1995), the film's proposition is unique and the likenesses between the two are only two strangers on a train.
The separation is obvious from the absence of dialogues writings. Focused on two characters, the least the watcher expects is a connecting with stream of thoughts, as composed by Linklater. In any case, the point of the story is to make a riddle, a showdown and goals. In this manner, Expresso do Destino starts with Leyla reluctant to jump on the train, yet at last chooses to get onto, however, she sits down of Ali, who addresses the nearness of a lady in his compartment.
It sounds a bit of disturbing from the start. The guy's interest in the young lady's figure, however, soon the watcher finds that it isn't ordinary in Turkey for an irrelevant man and lady to travel together in a similar situation. With the mystery being uncovered gradually, the story stays fascinating, regardless of the shallow exchanges. Conversely, music is the feature of the story, and it coordinates with the characters' lines.
The outstanding scenes are when both choose to acquaint each other with Turkish melodies that represent themselves, a synthetic procedure of comprehension. Around these times, the sequences are delightful, and it is lovely to know another part of Turkish culture, notwithstanding social practices and connections. If the scenes through the window are not terrific, albeit delegate, the chose tunes are invigorating and embed us in the land setting.
The decision to isolate the film into a few sections turns into a metalinguistic redirection of the work itself, yet, it doesn't support the plot. With the great execution of the heroes, the tepid language of the film figures out how to come to fruition, and the improvement of the two, among incitements and reparations, sounds attainable and fun-loving. Furthermore, Miss Universe Turkey, Dilan Çiçek Deniz, has an expressive look and charming magnificence. The appeal of the film is that it is a novel without driving a round of enchantment or convincing interests, however, in the point of view of possibility and the failure of life. The characters, in any case, are not too grown, yet, it is conceivable to conjecture that the mystery about these two people is a piece of the setting of the content.
Final Word - Although it is a short work with not many settings, the content presents turns, sets of viewpoints and holds the crowd's consideration. With an idealistic and creative closure, Expresso do Destino permits you to escape from a universal excursion, regardless of whether you don't set out to take radical flights, and it closes with the wonderful tune Le Vent Nous Portera (The Wind Will Take Us)
A Musically Sweet Rom-Com!
