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(International sales: Kinology, Paris.) Produced by Charles Gillibert. Camera (color), David Chizallet, Ersin Gok; editor, Mathilde Van de Moortel; music, Warren Ellis; production designer, Serdar Yemisci; costume designer, Selin Sozen; sound, Ibrahim Gok, Damien Guillaume, Olivier Goinard; associate producers, Sadik Ekinci, Emre Oskay; assistant director, Marie Weinberger; casting, Kristin Diehle, Harika Uygur.Co-producers, Frank Henschke, Anja Uhland, Mine Vargi. With: Gunes Nezihe Sensoy, Doga Zeynep Doguslu, Tugba Sunguroglu, Elit Iscan, Ilayda Akdogan, Nihal Koldas, Ayberk Pekcan, Serife Kara, Suzanne Marrot, Aynur Komecoglu, Sevval Aydin, Enes Surum, Burak Yigit, Erol Afsin, Aziz Komecoglu, Kadir Celebi, Muzeyyen Celebi, Aykut Karatay, Ercan Koksal, Serpil Ucar, Huseyin Baysal, Bahar Karimoglu, Seril Reis.Gunes Nezihe Sensoy, Doga Zeynep Doguslu, Tugba Sunguroglu, Elit Iscan, Ilayda Akdogan, Nihal Koldas, Ayberk Pekcan, Serife Kara, Suzanne Marrot, Aynur Komecoglu, Sevval Aydin, Enes Surum, Burak Yigit, Erol Afsin, Aziz Komecoglu, Kadir Celebi, Muzeyyen Celebi, Aykut Karatay, Ercan Koksal, Serpil Ucar, Huseyin Baysal, Bahar Karimoglu, Seril Reis.(Turkish dialogue) Though set in Turkey, shot in Turkish, and telling a Turkish story about the demonization of female sexuality, Deniz Gamze Erguven’s beautifully mounted debut, “Mustang,” has an unmistakable West European sensibility.Whether that’s a good thing or not depends on audience perspective, but while many Turks will find the final salvation distinctly inorganic, few can argue with the director’s talent or that of her exceptionally fine, largely unknown cast of young women.Set in a remote Black Sea village where five sisters are forced to suppress their burgeoning sensuality, “Mustang” will gallop through fruitful festival fields, finding fertile pastures on Euro arthouse screens.The perplexed girls, barely aware of their sexual aura, are beaten by their uncle Erol (Ayberk Pekcan) for acting like whores.After subjecting them to virginity tests, Erol locks them in the house and Grandma removes anything likely to be “perverting”: skimpy or clinging clothing, cell phones, computers, makeup.
Largely raised in France, Erguven seems to have her eye on the Western market, offering a form of deliverance most Turks with arthouse tastes will find naive at best.
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It’s impossible to watch this presentation of blossoming female sexuality without thinking of “The Virgin Suicides,” minus the male-generated perspective Sofia Coppola employed.
While spanning age ranges from prepubescent to nubile, the sisters here share a liberating innocence that’s demonized by a warped understanding of natural development and the misguided belief that it’s possible to cut young women off from an ever-increasing pop-culture connectivity.