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A truly haunting dream of a film that’s directly out of the haunted present and seeming future of Turkey, but that can also seem very close at hand here in 2017, too. “There is no crime of such enormity society cannot be manipulated into forgetting. Just ask Hasret. The news editor ought to know, but she too has also forgotten, even though the outrage in question hit tragically close to home. However, her subconscious has been nagging her, perhaps alarmed the sins of the past are being repeated with impunity by an Orwellian government and its complicit media allies in Ceylan Özgün Özçelik’s Inflame. Hasret lives in a Turkey just a tad bit more dystopian than it currently is now. Call it near future by four or six months. She works as an editor at the Turkish CNN, where she has a front row seat to view media manipulation, in favor of the autocratic government’s official party line. It has taken a toll on her soul and her conscience, but there is something disturbing her at an even deeper level. For weeks, she has troubled by visions of her late folk musician parents—at least she hopes they are just waking dreams or the like. Regardless, they have led Hasret to question the official report of their deaths in 1993, supposedly due to an auto accident. As the current climate becomes more repressive, Hasret’s own body and mind start to rebel. She starts cutting social ties, confining herself to her parents’ flat in an old quarter of Istanbul scheduled for demolition…. Inflame is an important film that took considerable guts to make, but it makes few stylistic concessions to reach a wider mass audience. The parallels with Polanski’s Repulsion need little explanation, but the scope of Inflame is much wider…”—Joe Bendel.