"Demirkubuz (who would later take over as cinematographer on his films) uses a cool, hard photographic style that––together with the rigidly geometric set up of the apartment complex––provides an effective counterpoint to the emotions raging beneath Tulay’s placid exterior. A provocative modern parable about the desire to control your own destiny in a world that seems to have a mind of its own." Film Society of Lincoln Center, 2007

"Demirkubuz subtly but significantly sets this scene off balance by either tracking his camera to the left, or slowly moving the automobile to the right—we cannot tell which. This moment passes swiftly but sets the tone of the film and is significantly echoed by the last shot in the film. It is as if the ground is shifting beneath the characters, undermining them and our sense of them. They do seem to be rootless: Tulay roams the highways and coast of Istanbul, Halit watches her and sometimes follows, while her husband Aziz stands apart, demanding that Tulay tell him “what is going on.” There are echoes of Alfred Hitchcock’s Rear Window, especially in the almost voyeuristic conduct of Halit, and even Tulay, who comes upon Halit and her maid exuberantly making love early in the film. I say “almost voyeuristic” because just as the spying by Jimmy Stewart in Rear Window is transformed by his discovery of a murder, Halit’s watching of Tulay is also transformed as the film reaches its climax." Robert A. Haller, Five Films by Zeki Demirkubuz, 2003