Love, Surreal and Odd (Tatlım Tatlım)

Love, Surreal and Odd (Tatlım Tatlım)

Movie · 2017 · 8 people

Yılmaz Erdoğan directed Tatlım Tatlım, a 2017 Turkish romantic comedy. It adapts Haybeden Gerçeküstü Aşk, the stage play Erdoğan wrote and performed to sold-out houses for years with Demet Akbağ. The same text first appeared as a book called Hijyenik Aşklar in 2003, reached the stage in 2004 and became a film in 2017. Released on 17 March 2017 and known abroad as Love, Surreal and Odd, it sold roughly 727,000 tickets and grossed over 8.7 million lira.

The story follows four couples who meet at the same party and traces the phases of a relationship, from beginning to end, in a comic tone. On stage a single couple, Akbağ and Erdoğan, played the evolution of the relationship; here the same text is split among eight actors. Gupse Özay, Büşra Pekin, Aylin Kontente, Şebnem Bozoklu, Bülent Emrah Parlak, Çağlar Çorumlu, Serkan Keskin and Fatih Artman take the leads.

Erdoğan also wrote the script. Necati Akpınar produced for BKM Film, and Mars Entertainment Group distributed. Gökhan Tiryaki was the cinematographer, Ömer Özgür the composer and Bora Gökşingöl the editor. One critic reads the decision to show, through four couples, that almost nothing has changed in urban relationships over a decade as a risky dramaturgical choice.

DirectorYılmaz Erdoğan
Production companyBKM Film
Love, Surreal and Odd (Tatlım Tatlım) Love, Surreal and Odd (Tatlım Tatlım) Love, Surreal and Odd (Tatlım Tatlım)

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Through different eyes

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

Moving a stage text to the screen always faces the same test: will the word of the stage or the image of cinema carry more weight? On stage, Yılmaz Erdoğan's text follows one couple's evolution; in the film it is split among eight actors, and the split risks scattering the rhythm. Telling, through four couples, that little has changed in urban relationships for a decade is a risky dramaturgical choice, and repetition is always a danger. The ensemble works well and the dialogue flows, but the cinematic language stays limited. A well-written adaptation that mostly feels like filmed theatre.

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

Tatlım Tatlım traces the stages of a relationship, from beginning to end, through four couples who meet at the same party. The text became a book in 2003 and a stage play in 2004, so it has been holding up a mirror to urban relationships for more than a decade. What is interesting is that the patterns do not change: flirtation, expectation, friction, break-up. The film serves this in a comic key and does not debate gender roles in depth. But viewers recognising behaviour from their own circles is its strength. It looks from an urban frame; other groups' experiences are largely absent.

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

For those who saw Haybeden Gerçeküstü Aşk on stage, there is a familiar flavour here. Yılmaz Erdoğan's pen keeps the rhythm of the sentences and the wit of the dialogue alive, a care we rarely find in today's comedies. The harmony among the eight actors is pleasant too. Still, eyes looking for the sorrow and devotion of older love films may tire of how fleeting the relationships are here. There is also a hint of cold irony about love; I would have liked a little more warmth.

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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