Can Evrenol is never going to be accused of subtle filmmaking, but Saýara (playing at Brooklyn Horror Film Festival) is definitely a more nuanced approach to storytelling than we would expect from him. Keep in mind that we are talking about the same writer/director who gifted us with Baskin, so consider yourself warned on the gore front. Created to be watched as either a film or a four part miniseries, Evrenol expertly lays out the story and characters in an easygoing fashion. Taking place in Turkey, but focusing on an immigrant from Turkmenistan, the film is definitely playing with and commenting on various social and racial issues that are, admittedly, above my pay grade, but everyone understands the immunity that powerful families have while the less privileged, and specifically immigrants, have practically none.
The titular Saýara (an incredible Duygu Kocabıyık) is working as the cleaning lady at a gym owned by Baris. The son of a very powerful political figure, Baris is also a married man having an affair with Yonca, Saýara’s sister. When Yonca (Özgül Kosar) behaves poorly and “unseemly” for a mistress, Baris and three other family members decide that they will teach her a lesson. This lesson ends in death and ignites Saýara’s dark side.
We learn through flashbacks that Saýara’s father was a famous fighter, and he taught all of his skills to his daughter. At one point, her father tells her that if she ever finds it necessary, she must go all the way into the darkness, and that’s exactly what she’s about to do. Cue the dramatic hair cutting scene where she gets herself fight ready while powerful men have conversations about how they will never be held accountable and there’s nothing Yonca’s family can do. Some say this is an anti-revenge film, but revenge is revenge, and if you enjoy watching men get what they have coming, then you will have a good time in the finale of the film.
Evrenol set out to create a martial arts film, and he has certainly succeeded but done with his own personal style. Although known for his more surreal horror work, Evrenol still shines a light on the darkest parts of humanity. As we travel with Saýara on her killing spree, we see her lose more and more of herself and it’s hard not to think of Baba from Baskin when he proclaims, “Hell is not a place you go to. You carry Hell with you at all times. You carry it inside you.” Watching Saýara unleash her hell on a group of selfish, entitled men is not only enjoyable, but more than provides the kind of violent catharsis you crave when you seek out a revenge film. While Saýara may not be forging any new paths, posing any existential questions or challenging the viewer beyond how much blood they can handle, it does an excellent job of creating a protagonist that you care about without letting us forget that there is always a price to be paid for our misdeeds.
Lisa Fremont
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