Gay and lesbian along with Lonesome from the Big City – will be Homosexual marriage Relationship Dead?

00 spectators. Starring Beatriz Rico, Ege Ayudan and Okan Bayülgen, it is set in the Ottoman Empire of the seventeenth century, and deals with the pioneering flying efforts of two young men tied by the heart to a beautiful slave. Building a primitive flying machine wasn’t the most attractive subject for distribution, but the script was plausible. Circumstantially, I would add that last year I got a seemingly unlawful DVD copy of this film, long out of print in Spain, at a Kadiköy store where there were at least two dozen more Spanish titles. Upon reviewing it, I verified that its problems did not stem from production limitations, which even included the use of Topkapi estancias, but rather from its dramatic construction, unbalanced between abruptness and late payment, and from some more willful than nuanced interpretations.

The last Turkish film released commercially in Spain is, officially, Far (Uzak, Nuri Bilge Ceylan, 2002), a marvel that I expand on in my cited articles. However, the ministerial database, which has errors and shortcomings, does not refer to several more or less recent premieres as Turkish films with Turkish participation, although not Spanish: El polvorín (Bure Baruta, Goran Paskaljevic, 1998), Un toque de canela (Politiki kouzina, Tassos Boulmeti, 2003), The window in front (La finestra di fronte, Ferzan Özpetek, 2003), and Against the wall (Gegen die Wand, Fatih Akin, 2004). And I have not been able to determine, due to the scarcity of data of the time and the type of product that they were (fast consumption, co-produced with Italy, of the subgenre of international adventures with ditto cast), if Istanbul 65 (Antonio Isasi, 1966; 2.711 .723 viewers) or its sequel Destination: Istanbul 68 (Miguel Iglesias, 1968; 594.686 viewers), had some minority participation on the Turkish side. The epitome of these popcorn mixtures is undoubtedly Black Angel, also known as Paroxismus or Venus in Furs (1969), a dreamlike story of love and death set in Istanbul and Rio de Janeiro, and directed by the contractor Jesús Franco with a style that it combines the avant-garde with the coarsest spirit of exploitation.

I am not going to refer either to all the films produced or co-produced by Spain that have been set (or co-set …) in Turkey. I highlight two recent ones, Galatasaray-Dépor (One day in Europe, 2005), the second feature film, released in April 2006, by Hannes Stöhr (Berlin is in Germany), a comedy about problems of linguistic understanding, with four colorful stories and carefree, spoken in seven languages ​​(Russian, English, Portuguese, Turkish, German, French and Spanish) and with football as a backdrop, which participated in the Berlin Festival in 2005 and in which the Galician Filmanova participated; and Tirante el Blanco (Vicente Aranda, 2006), Aranda’s own adaptation of the classic chivalric novel Tirant lo Blanc, by Joanot Martorell, which tells the story of how the knight Tirante receives the order from the Emperor of Byzantium to free the city of Constantinople from the siege of the Turks.

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