Bir R\u00fbhun Seyr-i Enf\u00fcs\u00ee Haritas\u0131ndan Kim Ki-duk\u2019un Filmine Nazar
<\/strong>Kim Ki-duk\u2019un 2003 tarihli Bahar, Yaz, Sonbahar, K\u0131\u015f\u2026 ve Bahar<\/em> filmi, g\u00f6l\u00fcn ortas\u0131nda y\u00fczen bir mabedin \u00e7evresinde ge\u00e7en hik\u00e2yeyle, ya\u015flanan bir ke\u015fi\u015f ile onunla b\u00fcy\u00fcyen \u00e7\u0131ra\u011f\u0131n hayat\u0131n\u0131 anlat\u0131rken insan\u0131 varolu\u015funu mevsimlerin \u00f6l\u00e7\u00fcs\u00fcnde d\u00fc\u015f\u00fcnmeye davet eder. G\u00f6l\u00fc ku\u015fatan da\u011flar, mabedi saran su, mabedin i\u00e7indeki Buddha heykelini \u00e7evreleyen dairesel kase ve bal\u0131klar\u2026 T\u00fcm bu \u00e7emberler, Budist d\u00fc\u015f\u00fcncenin en temel tablosu olan \u201cYa\u015fam \u00c7ark\u0131\u201dn\u0131n mek\u00e2nsal ve g\u00f6rsel bir yans\u0131mas\u0131d\u0131r.<\/p>\n\n\n\n
Film, ya\u015fl\u0131 bir Budist ke\u015fi\u015fin (Oh Yeong-su) ve \u00e7\u0131ra\u011f\u0131n\u0131n yolculu\u011funu mevsimler \u00fczerinden aktar\u0131r. Hik\u00e2ye, ad\u0131n\u0131 mevsimlerden alan be\u015f b\u00f6l\u00fcme ayr\u0131lm\u0131\u015ft\u0131r. Bahar\u2019da \u00e7ocuk (Kim Jong-ho), Yaz\u2019da gen\u00e7 (Seo Jae-kyeong), Sonbahar\u2019da yeti\u015fkin (Kim Young-min), K\u0131\u015f\u2019ta ise olgun bir adama (Kim Ki-duk) d\u00f6n\u00fc\u015f\u00fcr. \u00c7\u0131rak her mevsimde hata yapar, pi\u015fmanl\u0131kla y\u00fczle\u015fir, dersler al\u0131r ve yeniden ba\u015flar; ustas\u0131n\u0131n rehberli\u011finde kendi yolunu bulmaya \u00e7al\u0131\u015f\u0131r.<\/p>\n\n\n\n
Her mevsim asl\u0131nda hayat\u0131n ba\u015fka bir y\u00fcz\u00fcn\u00fc temsil eder: Bahar masumiyetin, Yaz arzunun, Sonbahar pi\u015fmanl\u0131\u011f\u0131n, K\u0131\u015f ise ar\u0131nman\u0131n mevsimidir. D\u00f6ng\u00fc sona erer gibi g\u00f6r\u00fcnse de asl\u0131nda yeniden ba\u015flar. T\u0131pk\u0131 hayat\u0131n kendisi gibi.<\/p>\n\n\n\n
Kim Ki-duk\u2019un kameras\u0131, s\u00f6zlerden \u00e7ok beden diliyle konu\u015fan y\u00fczlere, a\u011f\u0131rla\u015fan e\u015fyalara ve g\u00f6l\u00fcn y\u00fczeyinde yank\u0131lanan sessizli\u011fe odaklan\u0131r. Diyaloglar\u0131n yoklu\u011funda izleyici sahnelerin i\u00e7ine \u00e7ekilir ve \u015funu fark eder: Bazen en derin anlam, s\u00f6ylenmeyen s\u00f6zlerin i\u00e7inde gizlidir.<\/p>\n\n\n\n Mevsimler ve \u0130nsan Hayat\u0131n\u0131n D\u00f6ng\u00fcs\u00fc<\/strong><\/p>\n\n\n\n Kim Ki-duk\u2019un filmi, yaln\u0131zca mevsimlerin g\u00f6rsel ge\u00e7i\u015fiyle de\u011fil, ayn\u0131 zamanda rit\u00fcel jestlerle i\u015fleyen bir mimesis zinciridir. Her b\u00f6l\u00fcmde tekrar eden sembolik eylemler, insan\u0131n ruhsal geli\u015fiminin bir taklidi, yani sanatsal bir temsili olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar.<\/p>\n\n\n\n \u0130lkbahar, masumiyetin g\u00f6r\u00fcnen y\u00fcz\u00fcyle su\u00e7un ilk tohumunu yan yana getirir. K\u00fc\u00e7\u00fck ke\u015fi\u015f, bal\u0131klar\u0131n, kurba\u011falar\u0131n ve y\u0131lanlar\u0131n bedenine ta\u015f ba\u011flayarak \u00e7ocuk\u00e7a bir oyun oynad\u0131\u011f\u0131n\u0131 san\u0131r. Oysa bu tekrar eden eylem, karman\u0131n ba\u011flay\u0131c\u0131l\u0131\u011f\u0131n\u0131 ve her k\u00f6t\u00fcl\u00fc\u011f\u00fcn geri d\u00f6nen y\u00fck\u00fcn\u00fc mimetik olarak canland\u0131r\u0131r. Ustas\u0131, gece onun s\u0131rt\u0131na b\u00fcy\u00fck bir kaya ba\u011flar; bu jest, su\u00e7un a\u011f\u0131rl\u0131\u011f\u0131n\u0131n d\u0131\u015far\u0131dan de\u011fil, i\u00e7eriden ta\u015f\u0131naca\u011f\u0131n\u0131 hat\u0131rlat\u0131r. \u00c7ocuk ertesi g\u00fcn ta\u015fla birlikte uyan\u0131r, g\u00f6zya\u015flar\u0131 i\u00e7inde hayvanlar\u0131 kurtarmaya ko\u015far fakat \u00e7o\u011fu \u00f6lm\u00fc\u015ft\u00fcr. Su\u00e7un geri al\u0131namazl\u0131\u011f\u0131, pi\u015fmanl\u0131\u011f\u0131n ac\u0131s\u0131yla birle\u015fir. Bahar b\u00f6ylece yaln\u0131zca ba\u015flang\u0131c\u0131n de\u011fil, ayn\u0131 zamanda su\u00e7, y\u00fck ve pi\u015fmanl\u0131k kavramlar\u0131n\u0131n filmin b\u00fct\u00fcn\u00fcne yay\u0131lacak ilk yank\u0131s\u0131d\u0131r.<\/p>\n\n\n\n Yaz b\u00f6l\u00fcm\u00fcnde gen\u00e7 ke\u015fi\u015fin arzular\u0131, k\u0131z\u0131 s\u0131rt\u0131nda ta\u015f\u0131ma sahnesiyle g\u00f6r\u00fcn\u00fcr olur; t\u0131pk\u0131 \u00e7ocukken s\u0131rt\u0131nda ta\u015f\u0131d\u0131\u011f\u0131 ta\u015f gibi, bu kez bedeni arzu ve ba\u011flanman\u0131n a\u011f\u0131rl\u0131\u011f\u0131n\u0131 y\u00fcklenir. Sonbahar, su\u00e7 ve kefaretin mevsimidir: gen\u00e7 adam, kar\u0131s\u0131n\u0131 \u00f6ld\u00fcr\u00fcr sonra ayn\u0131 b\u0131\u00e7akla sa\u00e7\u0131n\u0131 t\u0131ra\u015f eder ve Kalp Sutras\u0131\u2019n\u0131 oyar. \u015eiddetin arac\u0131, bu kez ar\u0131nman\u0131n arac\u0131na d\u00f6n\u00fc\u015f\u00fcr. K\u0131\u015fta ise manast\u0131ra d\u00f6nen ke\u015fi\u015f, kendini bir de\u011firmen ta\u015f\u0131na ba\u011flar. Bu rit\u00fcel jest art\u0131k bir ceza de\u011fil, ayd\u0131nlanmaya do\u011fru bir \u00e7ileye d\u00f6n\u00fc\u015f\u00fcr: ta\u015f, karman\u0131n y\u00fck\u00fcn\u00fc temsil eder; g\u00f6\u011fs\u00fcnde ta\u015f\u0131d\u0131\u011f\u0131 Maitreya heykeli ise gelecekteki kurtulu\u015fu simgeler.<\/p>\n\n\n\n Son sahnede yeniden gelen Bahar, d\u00f6ng\u00fcn\u00fcn kapand\u0131\u011f\u0131n\u0131 de\u011fil, tekrar ba\u015flad\u0131\u011f\u0131n\u0131 g\u00f6sterir. Yeni bir \u00e7ocuk, ayn\u0131 zalim oyunlar\u0131 hayvanlara uygular. Usta\u2013\u00e7\u0131rak, g\u00fcnah\u2013kefaret, \u00f6l\u00fcm\u2013yeniden do\u011fum zinciri hi\u00e7 bitmez. Film b\u00f6ylece, insan hayat\u0131n\u0131n her a\u015famas\u0131n\u0131 do\u011fan\u0131n ritmiyle \u00f6rerken, bize sars\u0131c\u0131 bir soru y\u00f6neltir: \u201cBiz kendi mevsimimizin hangi e\u015fi\u011findeyiz?\u201d<\/em><\/p>\n\n\n\n \u00dc\u00e7 Zehirden Sekiz Ist\u0131raba: Bahar, Yaz, Sonbahar, K\u0131\u015f\u2026 ve Bahar\u2019\u0131n \u0130konografisi<\/strong><\/p>\n\n\n\n Kim Ki-duk\u2019un Bahar, Yaz, Sonbahar, K\u0131\u015f\u2026 ve Bahar<\/em> filmi, Budist \u00f6\u011fretilerin simgelerini yaln\u0131zca g\u00f6stermekle kalmaz, onlar\u0131 insan hayat\u0131n\u0131n d\u00f6ng\u00fcs\u00fcne yedirir. Budist gelene\u011fin i\u015faret etti\u011fi \u00fc\u00e7 zehir\u2014ak\u0131ls\u0131zl\u0131k, a\u00e7g\u00f6zl\u00fcl\u00fck ve \u00f6fke\u2014filmde farkl\u0131 mevsimlerde somutla\u015f\u0131r: \u00e7ocu\u011fun hayvanlara yapt\u0131\u011f\u0131 eziyet cehaletin, gen\u00e7 ke\u015fi\u015fin mabedi terk edi\u015fi a\u00e7g\u00f6zl\u00fcl\u00fc\u011f\u00fcn, yeti\u015fkin ke\u015fi\u015fin cinayeti ise \u00f6fkenin tezah\u00fcr\u00fcd\u00fcr. Bu \u00fc\u00e7 zehirin kayna\u011f\u0131nda cehalet vard\u0131r; nitekim baharda ilk g\u00f6r\u00fcnenin bu olmas\u0131, filmin etik yap\u0131s\u0131n\u0131 da sessizce kurar.<\/p>\n\n\n\n Bu etik d\u00fczen, yaln\u0131zca bireysel su\u00e7larla de\u011fil, insanl\u0131\u011f\u0131n payla\u015ft\u0131\u011f\u0131 sekiz \u0131st\u0131rapla da desteklenir. Do\u011fum, ya\u015flanma, hastal\u0131k ve \u00f6l\u00fcm farkl\u0131 karakterlerde g\u00f6r\u00fcn\u00fcrken; ayr\u0131l\u0131klar, nefret edilenle kar\u015f\u0131la\u015fmalar, arzular\u0131n ger\u00e7ekle\u015fmemesi ve beden-zihin varl\u0131\u011f\u0131n\u0131n y\u00fck\u00fc filmin b\u00fct\u00fcn\u00fcne yay\u0131l\u0131r. B\u00f6ylece film, ki\u015fisel hik\u00e2yeden \u00e7ok evrensel bir yazg\u0131n\u0131n \u015fiirsel ikonografisine d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n\n\n\n Bu ikonografinin en g\u00fc\u00e7l\u00fc par\u00e7alar\u0131, filmde s\u0131k s\u0131k beliren hayvanlard\u0131r. \u00d6zellikle y\u0131lan, mevsimlerden mevsimlere uzanan bir s\u00fcreklilik ta\u015f\u0131r: \u00e7ocu\u011fun korkusuzca f\u0131rlatt\u0131\u011f\u0131 masumiyetin i\u015fareti, yaz\u0131n \u00e7iftle\u015fmeyle gelen arzunun simgesi, sonbaharda yeniden do\u011fu\u015fun habercisi ve k\u0131\u015f\u0131n d\u00f6ng\u00fcn\u00fcn sonsuzlu\u011funu hat\u0131rlatan Ouroboros imgesi. Do\u011fan\u0131n bu en eski sembol\u00fc, insan\u0131n ruhsal yolculu\u011funa e\u015flik eder.<\/p>\n\n\n\n Bu yolculu\u011fun merkezinde ise usta fig\u00fcr\u00fc vard\u0131r. Sessizli\u011fiyle a\u011f\u0131rla\u015fan ya\u015fl\u0131 ke\u015fi\u015f, nirvanaya varacak gibidir; ama \u00f6\u011frencisine duydu\u011fu \u015fefkat onu h\u00e2l\u00e2 d\u00fcnyaya ba\u011flar. Ke\u015fi\u015fin polislerle ayr\u0131ld\u0131\u011f\u0131 sahnede kay\u0131\u011f\u0131n k\u00fcrek \u00e7ekilmesine ra\u011fmen ilerlememesi, ustan\u0131n son vedas\u0131yla birlikte \u00e7\u00f6z\u00fcl\u00fcr. Kendini yakmadan \u00f6nce g\u00f6z, kulak ve a\u011fz\u0131n\u0131 \u201c\u95ed\u201d (kapatmak) karakterli k\u00e2\u011f\u0131tlarla \u00f6rtmesi, d\u0131\u015f d\u00fcnyaya kapan\u0131p i\u00e7e y\u00f6nelmenin rit\u00fcel jestine d\u00f6n\u00fc\u015f\u00fcr. Ard\u0131ndan geriye kalan \u015aar\u012bra, onun ruhsal safl\u0131\u011f\u0131n\u0131n i\u015faretidir.<\/p>\n\n\n\n Bu ba\u011flamda filmdeki kap\u0131 sahnesi de ayn\u0131 sessizli\u011fi ta\u015f\u0131r. Duvars\u0131z, i\u015flevsiz gibi g\u00f6r\u00fcnen kap\u0131, her seferinde a\u00e7\u0131l\u0131p kapat\u0131l\u0131r. Gen\u00e7 ke\u015fi\u015fin sevgilisiyle birlikte kap\u0131n\u0131n yan\u0131ndan dolanmas\u0131 ya da heykeli bizzat ta\u015f\u0131mas\u0131, k\u00fc\u00e7\u00fck gibi g\u00f6r\u00fcnen ama ilkenin k\u0131r\u0131l\u0131\u015f\u0131n\u0131 g\u00f6steren ayr\u0131nt\u0131lard\u0131r. Kap\u0131 b\u00f6ylece Budizm\u2019in kat\u0131 bir kural de\u011fil, ya\u015fama dair bir felsefe oldu\u011funu hat\u0131rlat\u0131r.<\/p>\n\n\n\n Sonunda film, insan\u0131n yolculu\u011funu ikiliklerin ince \u00e7izgisi \u00fczerinde resmeder. Zehirli otu di\u011ferlerinden ay\u0131ran beyaz \u00e7izgi, ya\u015famla \u00f6l\u00fcm aras\u0131ndaki fark kadar narindir. Cinayet aleti olan b\u0131\u00e7ak, ayn\u0131 zamanda ar\u0131nman\u0131n arac\u0131 olabilir; hayvanlar\u0131 bo\u011fan ta\u015f, kefaretin y\u00fck\u00fcne d\u00f6n\u00fc\u015febilir; nesneler niyete g\u00f6re kurtulu\u015f ya da felaket getirir. Kim Ki-duk\u2019un sinemas\u0131 tam da bu s\u0131n\u0131rda y\u00fcr\u00fcr ve filmi yaln\u0131zca bir Budist alegori olmaktan \u00e7\u0131kararak, hayat\u0131n her an\u0131nda kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131z ikiliklerin \u015fiirsel bir tasvirine d\u00f6n\u00fc\u015ft\u00fcr\u00fcr.<\/p>\n\n\n\n PEK\u0130 YA S\u0130Z? HANG\u0130 BAHARDA MASUM\u0130YET\u0130N\u0130Z\u0130 Y\u0130T\u0130RD\u0130N\u0130Z?<\/strong><\/p>\n\n\n\n Bahar, masumiyetin mevsimidir. \u00c7ocu\u011fun kurba\u011falara ba\u011flad\u0131\u011f\u0131 ta\u015f, hayat\u0131n ilk deneyimlerinde sakl\u0131 merhamet dersini hat\u0131rlat\u0131r. Dostoyevski\u2019nin Budala<\/em>\u2019s\u0131ndaki Prens M\u0131\u015fkin gibi saf ve tertemiz bir iyilik de \u00e7evresindekilerin h\u0131rslar\u0131 aras\u0131nda kolayca yara al\u0131r. Masumiyetin ortas\u0131nda bile g\u00fcnah\u0131n ve su\u00e7un tohumlar\u0131 filizlenir. \u0130yilik, \u00e7o\u011fu zaman kendi z\u0131dd\u0131n\u0131 da beraberinde ta\u015f\u0131r; bahardaki \u201c\u00e7ocuk\u00e7a oyun \/ \u00f6ld\u00fcr\u00fcc\u00fc sonu\u00e7\u201d ikilemi, bunun en a\u00e7\u0131k i\u015faretidir.<\/p>\n\n\n\n Yaz, arzunun ve tutkular\u0131n mevsimidir. Gen\u00e7 ke\u015fi\u015fin arzunun pe\u015finde mabedi terk edi\u015fi, \u00c2dem ile Havva\u2019n\u0131n yasak meyveyi elma gibi g\u00f6r\u00fcp ona uzan\u0131\u015f\u0131n\u0131 hat\u0131rlat\u0131r. Arzu, ilk bak\u0131\u015fta \u00f6zg\u00fcrl\u00fck ve hayat vaat eder; fakat sonunda bedeli a\u011f\u0131rd\u0131r. Cennetten d\u00fc\u015f\u00fc\u015f ya da mabedin kap\u0131s\u0131ndan \u00e7\u0131k\u0131\u015f, ayn\u0131 hik\u00e2yenin farkl\u0131 y\u00fczleridir: arzu, akl\u0131 g\u00f6lgeler ve insan\u0131 su\u00e7un e\u015fi\u011fine ta\u015f\u0131r.<\/p>\n\n\n\n Sonbahar, pi\u015fmanl\u0131\u011f\u0131n ve sorgulaman\u0131n mevsimidir. Yeti\u015fkin ke\u015fi\u015fin \u00f6fkeyle i\u015fledi\u011fi cinayet, Dostoyevski\u2019nin Su\u00e7 ve Ceza<\/em>s\u0131ndaki Sibirya sahnesiyle \u00f6rt\u00fc\u015f\u00fcr. Raskolnikov\u2019un sonunda s\u00fcrg\u00fcne gidip ac\u0131y\u0131 bilin\u00e7li olarak kabullenmesi, asl\u0131nda kendi ta\u015f\u0131n\u0131 s\u0131rt\u0131na ba\u011flamas\u0131 gibidir. Burada cezadan \u00e7ileye, \u00e7ileden ise ar\u0131nmaya ge\u00e7i\u015f s\u00f6z konusudur. Su\u00e7 g\u00f6r\u00fcn\u00fcr ya da g\u00f6r\u00fcnmez olsun, vicdan\u0131n terazisi hep ayn\u0131 a\u011f\u0131rl\u0131\u011f\u0131 hissettirir.<\/p>\n\n\n\n K\u0131\u015f ise ar\u0131nman\u0131n mevsimidir. Burada art\u0131k yaln\u0131zca birey de\u011fil, insan\u0131n kendi ruhu s\u0131nan\u0131r. Hermann Hesse\u2019nin Siddhartha<\/em>s\u0131nda oldu\u011fu gibi, ac\u0131n\u0131n ve kayb\u0131n ard\u0131ndan sessiz bir ar\u0131nma ba\u015flar. Siddhartha\u2019n\u0131n \u0131rma\u011f\u0131n k\u0131y\u0131s\u0131nda ula\u015ft\u0131\u011f\u0131 dinginlik, ke\u015fi\u015fin b\u0131\u00e7a\u011f\u0131n\u0131n hem \u00f6ld\u00fcr\u00fcp hem ar\u0131nd\u0131ran ikili do\u011fas\u0131nda yank\u0131lan\u0131r. Ara\u00e7 de\u011fi\u015fir, k\u00fclt\u00fcr de\u011fi\u015fir ama vicdan\u0131n a\u011f\u0131rl\u0131\u011f\u0131 her \u00e7a\u011fda ayn\u0131 kal\u0131r.<\/p>\n\n\n\n Ve tekrar Bahar. \u00c7\u00fcnk\u00fc hayat, insana hep ayn\u0131 dersi yeniden yazd\u0131r\u0131r; d\u00f6ng\u00fc biter gibi g\u00f6r\u00fcn\u00fcr ama asl\u0131nda yeniden ba\u015flar. Gabriel Garc\u00eda M\u00e1rquez\u2019in Y\u00fczy\u0131ll\u0131k Yaln\u0131zl\u0131k<\/em>\u2019\u0131nda Buend\u00eda ailesinin ku\u015faklar boyu ayn\u0131 hatalar\u0131 tekrarlamas\u0131 gibi, insanl\u0131k da kendi d\u00f6ng\u00fcs\u00fcnden ka\u00e7amaz. Her bahar, yeni bir masumiyet gibi g\u00f6r\u00fcn\u00fcr; ama i\u00e7inde eski su\u00e7lar\u0131n, eski arzular\u0131n ve eski pi\u015fmanl\u0131klar\u0131n izlerini ta\u015f\u0131r.<\/p>\n\n\n\n Ve belki de tam bu y\u00fczden Honor\u00e9 de Balzac\u2019\u0131n o \u00fcnl\u00fc c\u00fcmlesi akla gelir: \u201cErdemliydi, \u00e7\u00fcnk\u00fc s\u0131nanmam\u0131\u015ft\u0131.\u201d<\/em> S\u0131nanmad\u0131k\u00e7a masumiyet de\u011fersiz kal\u0131r ama s\u0131nand\u0131\u011f\u0131nda su\u00e7la, arzuyla, pi\u015fmanl\u0131kla ve ar\u0131nmayla y\u00fczle\u015fir. \u0130\u015fte hayat\u0131n d\u00f6ng\u00fcs\u00fc de budur: s\u0131nanma olmadan erdem yoktur, su\u00e7 olmadan vicdan uyanmaz, pi\u015fmanl\u0131k olmadan ar\u0131nma gelmez. Arzu olmadan d\u00fc\u015f\u00fc\u015f olmaz, d\u00fc\u015f\u00fc\u015f olmadan y\u00fckseli\u015f do\u011fmaz, \u00e7ile olmadan huzur bulunmaz. Ate\u015f olmadan safla\u015fma olmaz, karanl\u0131k olmadan \u0131\u015f\u0131k parlamaz, \u00f6l\u00fcm olmadan hayat anla\u015f\u0131lmaz.<\/p>\n\n\n\n B\u00f6ylece mevsimlerin hik\u00e2yesi yaln\u0131z bir takvim de\u011fil, insan ruhunun aynas\u0131 olur. Ba\u015flang\u0131\u00e7la son, masumiyetle su\u00e7, d\u00fc\u015f\u00fc\u015fle ar\u0131nma birbirine ba\u011flan\u0131r ve hik\u00e2ye hi\u00e7 bitmez; yaln\u0131zca yeni bir bahar ad\u0131yla tekrar eder.<\/p>\n\n\n\n Peki ya siz? Hangi baharda masumiyetinizi yitirdiniz? Hangi yazda arzular\u0131n\u0131z\u0131n ate\u015fiyle yand\u0131n\u0131z? Hangi sonbaharda vicdan\u0131n\u0131z\u0131n terazisi a\u011f\u0131r bast\u0131? Hangi k\u0131\u015fta ar\u0131nman\u0131n sessizli\u011fine s\u0131\u011f\u0131nd\u0131n\u0131z?<\/p>\n\n\n\n Ve \u015fimdi, yeni bir bahara haz\u0131r m\u0131s\u0131n\u0131z?<\/p>\n","protected":false},"excerpt":{"rendered":" Hece Dergisi Bah\u00e2r\u0131n Safveti, K\u0131\u015f\u0131n Tezkiyesi:Bir R\u00fbhun Seyr-i Enf\u00fcs\u00ee Haritas\u0131ndan Kim Ki-duk\u2019un Filmine Nazar Kim Ki-duk\u2019un 2003 tarihli Bahar, Yaz, Sonbahar, K\u0131\u015f\u2026 ve Bahar filmi, g\u00f6l\u00fcn ortas\u0131nda y\u00fczen bir mabedin \u00e7evresinde ge\u00e7en hik\u00e2yeyle, ya\u015flanan bir ke\u015fi\u015f ile onunla b\u00fcy\u00fcyen \u00e7\u0131ra\u011f\u0131n hayat\u0131n\u0131 anlat\u0131rken insan\u0131 varolu\u015funu mevsimlerin \u00f6l\u00e7\u00fcs\u00fcnde d\u00fc\u015f\u00fcnmeye davet eder. G\u00f6l\u00fc ku\u015fatan da\u011flar, mabedi saran su, […]<\/p>\n","protected":false},"author":1,"featured_media":789,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[],"class_list":{"0":"post-787","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-film"},"yoast_head":"\n![\"\"](\"https:\/\/mehmetkirtorun.com\/wp-content\/uploads\/2025\/11\/image-42-682x1024.png\")
<\/figure>\n\n\n\n