Dondurmam Gaymak

Ice Cream, I Scream (Dondurmam Gaymak)

Movie · 2005 · 3 people

Yüksel Aksu wrote and directed Dondurmam Gaymak (internationally Ice Cream, I Scream), an independent-minded Turkish comedy. It opened on November 24, 2006. A warm example of New Turkish Cinema, it recalls Bicycle Thieves and naive Latin American cinema. It won the Special Jury Award at the 25th Istanbul Film Festival and was Turkey's official submission for Best Foreign Language Film at the 79th Academy Awards, though it was not nominated.

The story is set in the 1990s in a small coastal town in Muğla, on the Aegean. Ali Usta, an ice-cream seller, shrugs off local mockery and takes on the big ice-cream brands. He makes a commercial for local television, buys a motorbike on credit and tours the villages with a makeshift trailer, trailed by ice-cream-hungry kids. The mischievous children covet the bike and steal it. Convinced a big brand took it, Ali Usta confronts the dealers. It pokes fun at corporate giants and defends vanishing small shopkeepers.

Turan Özdemir is the only professional actor; the other roles are played by people from the Muğla region. Memet Ali Alabora trained the cast and advised on acting. The film was funded largely by the director himself and by donations from Muğla, and its script was published as a book in 2007.

DirectorYüksel Aksu
Ice Cream, I Scream (Dondurmam Gaymak)

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Family Viewer Asks whether the whole household can watch it; cares about humour and heart.

An ice-cream seller, the kids chasing after him and a motorbike: a sweet comedy the whole family can watch together. The small shopkeeper standing up to the big brands is a simple message even children will grasp. The one thing to watch for is that the kids stealing the bike is played as a comic incident. When watching with little ones, it is worth a sentence to remind them it is no joke.

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

The nod to Bicycle Thieves is well placed: a cast drawn from local people, real locations and a stolen vehicle that sets the story going. Yüksel Aksu, however, turns that neorealist material not into tragedy but into warm comedy, and the film's originality lies in that choice of tone. Having no professional actor apart from Turan Özdemir brings naturalness, but in my view it also makes the rhythm uneven at times; some scenes could have been tightened in the edit. The satire aimed at the big brands is also underlined a little too heavily in places. Still, for a film that won the Special Jury Award at the Istanbul Film Festival and was Turkey's Oscar submission, these flaws look like the price of its sincerity.

History & Society Lens Asks about the period, the social background and what the work reflects.

The film is set in the 1990s in a small coastal town in Muğla, an apt choice for depicting the years when big national brands moved into the market of small provincial producers. Ali Usta shooting an ad for local television, buying his bike on credit and touring village after village is a charming picture of a small trader trying to fight the big companies with their own weapons. The fact that the film itself was funded largely by the director and by donations from the people of Muğla carries the solidarity it depicts beyond the screen. As a record of a vanishing shopkeeper culture, it can also be read today as a document of its time.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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