Toll Booth (Gise memeru)

A Mantar Film, BKM Film production. (Worldwide sales: Mantar Film, Istanbul.) Created by Engin Yenidunya, Tolga Karacelik. Directed, compiled by Tolga Karacelik.With: Serkan Ercan, Zafer Diper, Nergis Ozturk, Nur Aysan, Busra Pekin, Nadir Saribacak, Ruhi Sari, Sermet Yesil, Iskender Bagcilar. (Turkish, British dialogue)A Turkish toll-station worker attempts to make amends for his monotonous routine by having an excessively eager imagination in "Toll Booth," the accomplished first film of scribe-helmer Tolga Karacelik. Intimate feature is built around a pitch-perfect perf from thesp Serkan Ercan, who strikingly brings the diffident protag to existence, while ace storytelling and editing ensure auds remain perfectly aware throughout which moments are but a figment of his mind's eye. Slightly surreal mental portrait keeps things remarkably light-footed and sincere, and really should still see fests raise their boom obstacles. (Poultry) Impeccably anonymous in the cent-a-dozen shirt and tie, insecure 35-year-old Kenan (Ercan) looks so undistinguished he could pass for somebody ten years more youthful or older. Co-workers at the office make reference to him as "Robot" while he appears to lack any personality trait or particular desire it's almost magic his co-employees notice him whatsoever. Kenan's generic looks are matched up by his daily occupation: He guys among the cubicles in an immense toll station, taking each driver's ticket and cashing the toll before permitting the vehicle to pass through. A number of short, classical closeups effectively suggest the numbingly repetitive character from the job. Auds obtain a look within the mind of the cipher when his ailing father (Zafer Diper), who needs taking care of in your own home, rather improbably appears in the vehicle at Kenan's tollbooth. Their conversation turns towards the beautiful Nurgul (Nergis Ozturk), an amiable youthful neighbor who takes care of that old guy, also it rapidly becomes obvious that what we are seeing is going on inside Kenan's mind. Key scene not just demonstrates the way the frail old guy psychologically towers over his unconfident boy, but additionally shows how repressed sentiments might have far-reaching effects within the real life. Whenever a supervisor sees Kenan getting his imaginary conversation at work, he immediately transfers him to some single-booth country-road barrier. Instead of functioning like a wakeup call, the transfer to some place where nothing happens paves the way to more daydreams. Included in this are not just Kenan's father, but additionally his late mother (observed in golden-hued flashbacks), his youth and the still-awkward relationship using the opposite gender, as personified through the sweet Nurgul along with a sexy lady (Nur Aysan) whose vehicle stops working. Pic superbly exteriorizes Kenan's locked-up fears and agonies. Like dreams, these reveries are somewhat surreal and from time to time nonsensical, but simultaneously offer immediate access towards the character's subconscious. Never huge-handed Freudian dissection of Kenan's personality, pic remains light as well as chuckle-inducing while never compromising the characters' sincere feelings. The dignified strength of Ercan's perf is particularly useful in connection with this, although the cast is strong overall. Melancholy score by Cem Adiyaman assists in keeping things grounded as the balance between real and imagined mobile phone industry's is maintained by having an impeccable eye for clearness. Only slightly subpar tech credit at screening caught was pic's seem mix.Camera (color, widescreen), Ercan Ozkan editors, Cicek Kahraman, Evren Lus, Karacelik music, Cem Adiyaman art director, Nadide Argun costume designer, Tuba Atac seem (Dolby Digital), Umut Senyol. Examined at Thessaloniki Film Festival (competing), November. 6, 2011. (Also in Doha Tribeca, Warsaw, Istanbul film festivals.) Running time: 96 MIN. Contact Boyd van Hoeij at news@variety.com