Director: Paul Thomas Anderson
Cast: Joaquin
Phoenix, Philip Seymour Hoffman, Amy
Adams
USA, 144’, 2012,
color
English with Turkish subtitles
Writer-director Paul Thomas Anderson’s latest movie The Master is set in post-World War II America and centers on the relationship between a psychologically damaged US Navy veteran and the guru of a quasi-religious movement. Haunted by his past, WW-II veteran and drifter Freddie Quell crosses paths with a mysterious movement called The Cause, led by Lancaster Dodd, aka The Master, and his wife Peggy. Their twisted relationship is the core of this film, which The New York Times called “a glorious and haunting symphony of color, emotion and sound with camera movements that elicit an involuntary gasp and feats of acting that defy comprehension.” Will Freddie be able to outrun his past? Will The Cause help or hurt him? Can this tortured, violent creature be civilized? Or is man, after all, just a dirty animal? Starring 2012 Academy-Award® Nominees for Best Actor, Joaquin Phoenix, Best Supporting Actor, Phillip Seymour Hoffman, and Best Supporting Actress, Amy Adams, Rolling Stone calls the film “A mind bending cinematic landmark.”
Trailer
Organized in collaboration with the Giacometti Foundation, Paris, the exhibition explores Giacometti’s prolific life, most of which the artist led in his studio in Montparnasse, through the works of his early period as well his late work, including one unfinished piece. Devoted to Giacometti’s early works, the first part of the exhibition demonstrates the influence of Giovanni Giacometti, the father of the artist and a Swiss Post-Impressionist painter himself, on Giacometti’s output during these years and his role in his son’s development.
Among the most interesting themes in the oeuvre of Prassinos are cypresses, trees, and Turkish landscapes. The cypress woods in Üsküdar he saw every time he stepped out on the terrace of their house in İstanbul or the trees in Petits Champs must have been strong images of childhood for Prassinos.
A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.
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On Wednesdays, the students can
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