Three Monkeys (2008): oblivion,anamnesis and the latent spectrality of hope

Nuri Bilge Ceylan’s films evoke landscapes, characters and themes of undisclosed longing; with provocative situations of desperation and stranded existences, Ceylanian trysts, landscapes and human encounters also tend to be tinged with the fleeting hue of nostalgic daydream, and the lustre of unspoken aches. So often in Ceylan’s films what is most important goes unsaid, and remains unsayable; with the open ciphers of lonely wanderers, something from beyond the images and dialogue of the films stirs. Three Monkeys (Üç Maymun) starts with a night sequence in which a lone man drives along an unlit and isolated road; he hits something – a human being. With this, Servet, an ambitious politician, takes the decision to drive away and leave the body. This self-interested decision kick-starts a sequence of events which soon implicates the lives and familial relationships of Servet’s driver Eyüp. This paper explores, analyses and discusses the characters and narrative of Ceylan’s Three Monkeys, using the philosophical frameworks of Ernst Bloch, Marc Augé and Friedrich Nietzsche.