Masterfully shot. I love the contemplative pace. I was kept nonetheless very much engaged in the dialogues and the landscape and the film's mood.

Having recently seen Once Upon a Time in Anatolia, I found this film to be a similarly immersive and visually stunning experience, with its own unique tension and surprises. The scenes are long but meticulously crafted, drawing the viewer into the setting and the lives of the characters through strong dialogue and direction. Narratively, the film unfolds like a loose sequence of events, occasionally losing track of certain plots and conflicts before eventually weaving them back together in service of its central theme: ideals and the act of idealizing people, places, and situations. The film also plays with audience expectations in interesting ways. A key plotline is introduced early on, only to be set aside and revisited much later, while the second half of the film shifts focus to a different issue involving some of the same characters. The characters are exceptionally well-developed, their strengths, flaws, and insecurities emerging naturally through expertly written dialogue. The performances are outstanding, which is a testament not only to the actors but also to the direction. The cinematography features long, unbroken shots with minimal camera movement, none of which feels unnecessary. However, a few moments do draw attention to themselves through certain camera movements and editing choices, slightly breaking immersion. Then there’s that scene, one that completely pulls the viewer out of the narrative, overtly reminding us that we’re watching a film. I found it fascinating, though I can see how some might find it jarring or alienating. While the film’s deliberate pacing is mostly justified and immersive, it can at times become exhausting, especially given its lengthy runtime and extended scenes. Some moments might have benefited from tighter editing, though that could have come at the cost of the film’s naturalistic dialogue and performances. An intermission at the midpoint might have helped, offering audiences a chance to reflect before continuing. Overall, it’s a rewarding watch, but it demands patience. For those willing to embrace its pacing and runtime, it delivers a profound and existential experience.

Couldn't cope with te length. Knock 45 mins off and it would be 4.5 stars

In Nuri Bilge Ceylan’s About Dry Grasses, set in the wind-swept, desolate expanses of Turkey’s East Anatolia, the landscape mirrors the lives of the characters – empty and seemingly without hope. Over the course of more than three hours, three teachers try to come to terms with the considerable shortcomings that seemingly prevent them from escaping their fate. Beautifully shot and edited, intelligently written, and filled with subdued but effective performances, it is a film about jealousy, injustice, obligation, and the life-altering impact of external influences, among other things. While some viewers may find the running time and pacing an issue (not to mention the weird meta scene towards the end), it's one of those rare movie experiences that will leave you examining your own lot in life in a new way.

About Dry Grasses is a very good drama that moves slowly telling the story of a school teacher working in a small remote village in Turkey. His goal is to complete his 4 year compulsory service so he can transfer to Istanbul. He is introduced to another teacher he likes but is hesitant about developing a relationship with her. Two of his classmates, young girls, accuse him of inappropriate contact. He is finding out love, teaching present many challenges. No killings, no sex, just a very good drama about life. I enjoyed About Dry Grasses.

I watched this based on the critics reviews. I can only say, it is typical of movies that critics abstractly believe have merit. And off they go into goodness knows what. It is 197 mins long. It is entirely made up of dialogue with a little inner thought, none of which, offer anything more than the mundane. The characters incessantly talk at one another, and lack much in the way of endearing attributes, save for Nuray, played by Merve Dizdar. The main character, Samet, played by Deniz Celiloglu, is wholly self indulgent and could winge for Turkey. It's saving grace is how well written it is, it's just a pity the content wasn't of a higher order.

Okay. So it's long. But it isn't quite watching paint dry. A cold landscape, a small school, a kindly teacher, a dangerous accusation , a tentative love triangle, a yearning for escape. If you can handle 3 hours plus of bum numb then it might be worth your time

A well-narrated story in which you will find two stories within it: one that you watch and the other that the director is communicating with you. You won't even realize it is a 3-hour and 20-minute long film. The film simply connects you to the under-the-skin feelings of the characters, and the acts are so smooth. Cinematography and costumes are very well done. You will be in another life and story when watching the film!

Deniz Celiloğlu (Samat) showcases a wide array of emotions in a gorgeous 3-hour plus extravaganza that could have been sliced by about 30-40 minutes. It is intentionally slow, but the build, while fascinating, didn't land as well as it could have. As a character study there are few better on film. It's a Turkish drama feature, but stick with it. There are long scenes of heavy dialogue and stretches of silence. Samat is hard to like which makes him totally compelling the way he is presented. It is by far perfect but as far as Turkish 140 minute movies go, it's up there as the best I've seen... and also the worst! Final Score: 6.8/10

The subject , acting ,and wonderful landscape..Unlike Hollywood movies , it is filled with philosophy.. Nuri Bilge Ceylan is genius , when it comes to making great movies..

What a jumbled, seemingly endless, sophomoric mess this is! It seems to manage to put in every cliche, both in words and in subject, that are available, and that means a whole lot, since the director/writers had over 3 hours to fill. Talk, talk, talk. There are extraneous, time consuming and confusing side stories, e.g. the shopkeeper, the dog in the street. Sure, Samet provides cringe worthy actions at the start of the film, belying his otherwise caring person/favorite teacher persona, but the only reason his caddishness becomes the major feature is his action concerning the concealed love letter, an unconvincing deus ex machina.