Showing a keen, compassionate eye for human observation, Özge reveals how each of his character’s lives is as gridlocked as the cars on the bridge.
Despite one or two nice moments and the naturalistic tone, it's all a bit of a slog.
We come to know these people so well that they're still by our sides when we leave the film.
Özge, working with a non-professional cast, brings a low-key naturalism to this study of struggle in the big city.
All in all, this is a carefully modulated plea for tolerance and mutual understanding: even if the story drifts off into oddly illiberal areas, such as the anti-PKK demonstration that climaxes with a rant against the west and Zionism.
Like most Turkish films that reach this country, it is truthful, sad and depressing.
The naturalistically shot Men on the Bridge has the feel of a fly-on-the-wall documentary, although it’s a scripted drama, in which the non-professional cast play versions of themselves (Murat is actually played by the character’s brother).
The disjointed style may not be to all tastes, but fascinating all the same.
General release. Check local listings for show times.