Regissör: Pelin Esmer
Pelin Esmer, born in 1972 in Istanbul, Turkey, is a director, writer and producer. While working as an assistant director in various Turkish and foreign films she started making her own independent films. After her first documentary The Collector she founded her own film company Sinefilm and made her feature films The Play, 10 to 11 and Watchtower. She was invited to Cannes Film Festival’s Résidence du Cinéfondation in Paris where she wrote the script for 10 to 11.
Two words that we can by no means put side by side while talking or writing just happen to get together in a poem. We do not find it odd. We are fascinated. If we find them together in a prose we feel uneasy. We find this illogical and absurd; we even try to separate them. But when those two words come side by side in a verse magic happens and all we do is to imagine. And I tried to imagine this film not as prose but a poem while writing “Something Useful”. What happens if three people, unlikely to come together in our daily lives, a poet who is travelling on train to go the her high school’s reunion dinner to see her friends for the first time after 25 years, a nurse, reluctantly travelling in the same train on her way to her mission to kill someone and a man, physically immobile but mentally very active who has demanded to be killed get together one afternoon? This is not naturally an everyday situation but fortunately cinema is founded on “what if” questions. And that was the feeling that I had at the onset of the film, something like the wish of putting three words unlikely to get side by side in a verse. As far as I am concerned that is the main and only link between the film and poetry.
Why does a poet decide to accompany a paralyzed man who wants to die, and a young nurse who has taken on the difficult task of killing him? To help them? Because she is fascinated by them? Because she is fascinated by death? Because she is curious? Or is it because she wants to do something useful? Would she have done something useful by accompanying the unwilling murderer and spending time with someone who wants to die? When art exists as a powerful and magical tool for understanding life, why does the artist continually seek to do something useful? I imagined a road movie where the spectator can add his or her questions to mine and then I set off.