Mayıs Sıkıntısı

Clouds of May (Mayıs Sıkıntısı)

Movie · 1999 · 6 people

Nuri Bilge Ceylan wrote and directed Mayıs Sıkıntısı (Clouds of May), a Turkish drama-comedy released on 10 December 1999. It is his third film, after the 1995 short Koza and the 1997 Kasaba, and it is dedicated to Anton Chekhov. Ceylan was also its producer, cinematographer and co-editor, shot in color on 35 mm.

The story follows Muzaffer, who returns to the small town of his childhood with a film in mind. Its people seem at peace with their small troubles, until his arrival disturbs that calm. His father Emin, who feels uneasy every May, struggles to keep the oak trees he has tended for years from the forestry administration, while also acting in his son's film. Young Saffet dreams of leaving his factory job for the city. Muzaffer Özdemir plays Muzaffer and Mehmet Emin Toprak plays Saffet, with Mehmet Emin Ceylan and Fatma Ceylan as Emin and Fatma. The cast is largely amateur, drawn from the director's close circle.

At the 1999 Antalya Golden Orange Film Festival the film won Best Director, Second Best Film and Best Laboratory, and the jury gave special awards to all of its amateur actors. Its honours also include the European Film Academy Critics Award. Ayhan Ergürsel co-edited.

DirectorNuri Bilge Ceylan
Production companyNBC Ajans
Clouds of May (Mayıs Sıkıntısı) Clouds of May (Mayıs Sıkıntısı) Clouds of May (Mayıs Sıkıntısı)

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Cast

Mehmet Emin Toprak Mehmet Emin Toprak Actor · died at 28 Muzaffer Özdemir Muzaffer Özdemir Actor · born 1957 Mehmet Emin Ceylan Fatma Ceylan Muhammed Zımbaoğlu Sadık İncesu

Through different eyes

Yeşilçam Nostalgic A viewer raised on the classics, looking for warm storytelling and strong acting.

A film dedicated to Chekhov wins a literature lover's heart from the start. Townspeople living with their small troubles, a father who has given years to his oak trees, a young man dreaming of the city... these are people we know from Yeşilçam's provincial stories too, but Ceylan chooses to tell them through calm observation rather than the raised voice of melodrama. A cast drawn largely from amateurs and the director's own circle lends it an unadorned sincerity. For eyes used to the warm storytelling of the classics its pace may demand patience; still, a father's fight to keep the fruit of his labour carries on the moral centre of those old films in a different language.

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

Ceylan keeping nearly everything in his own hands, from script to cinematography, from producing to editing, gives the film an almost handmade unity. Its most interesting layer is the film-within-a-film: a director coming home with a film in mind and a father acting in his son's film deliberately blur the line between fiction and reality. A cast drawn from the director's own circle pushes that game a step further, and the Golden Orange jury giving special awards to every amateur actor shows how well that naturalness landed. The weak point is length: the slow rhythm risks turning into a repetitive stillness whenever the story marks time.

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

It is about a small-town family and its small troubles; everyday life rather than heavy themes. There is a light touch of humour too. But the pace is very slow and the film is long. Children will most likely get bored halfway. Grandparents, though, may find much they recognise from small-town life. It is a film for a quiet evening and for patient grown-ups.

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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