Loading. Please Wait...
Scroll down

When Namibia Was a City…

Yusuf's everyday life is dominated by a gorgeous and beloved routine. A fishing trip could give him a chance to restore his image as the provider and head of family...

20 – 25 | 2010 | Dramedy | Family | Germany

Yusuf’s everyday life is dominated by a gorgeous and beloved routine. He wakes up in the morning and drinks a coffee staring at the window, greets his working wife Ceyda, makes himself comfortable in his route between couch, television and computer. He takes a nap in the afternoon and only goes out to reach his buddy Tamer at the bar, playing Okey and smoking a joint. He’s happy that way. Back home, he prepares lunch for Ceyda and so on, day after day. It’s his birthday, even his daughter Ayda joins the family. It’s time to re-establish the roles – playing Boy Girl Animal. No way, Namibia is not a city. When Tamer makes him go on a fishing trip on the frozen lake, he reluctantly agrees to go. It’s just an opportunity to try the old camera that his wife has refurbished as a gift. But once there, he gets a chance to restore his image as the provider and head of family. The beginning of an awakening. A revelation, a surprise. Maybe.

Screened and awarded at several international festivals (Hof – Home of Films, Rio de Janeiro, Cologne – Unlimited, Istanbul – Akbank, Zagreb), When Namibia Was a City… is a delicate and ironic family portrait. Ilker Çatak and Johannes Duncker enjoy watching life and rebuilding it dismantling and reassembling its pieces. Their observing shots depict detachments, landings and returns – Çatak was born in Berlin, later he lived in Istanbul and then moved back to Germany; Duncker was born in a small village in Germany, grew up in Istanbul, then moved to Cologne. They’ve followed bizarre and out-of-time love stories (Eskimo Frog in 2005, A Space in Time in 2008), illuminating encounters and alternative perspectives (Between Banks in 2008), personal and public responsibilities (Fidelity, 2014).

Ilker tells the story of dad Yusuf, the family’s roles shifted, and the game of “categories:” forced to quit his job out of medical reasons, the head of the household must reinvent himself. Çatak and Duncker have a quick wit in their calm direction, combining metaphysic realism and sarcastic lightness. They juggle complex and seemingly contradictory tones, focusing on the unexpressed. And in this praise to slowness, their main character becomes a hero of disillusionment and hope.

Alessandro Zoppo

Alessandro Zoppo

Alessandro Zoppo

Editor-in-Chief @ Good Short Films

comments powered by Disqus

On Replay

scroll up