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The "Fatma" series demonstrates the superpower of an invisible woman - Walla! culture

2021-05-13T10:28:01.740Z


The protagonist of Netflix's "Fatma" is a woman on the fringes of society, who has to do such an extreme act just to be present in the world, so that her voice can finally be heard


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The "Fatma" series demonstrates the superpower of an invisible woman

The heroine of Netflix 'Fatma' is a woman on the fringes of society, devoid of status, money, education or security, who is forced to do such an extreme act just to be present in the world, so that her voice can finally be heard.

That's the big message of this series, and it swallows everything else - in a good section

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Songs of salvation

Monday, 10 May 2021, 00:00 Updated: 11:18

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Trailer for the "Fatma" series (Netflix)

A rainbow cleaner who sees no way out of life at the bottom tries to find her missing husband, but is dragged into the world of crime against her will.

The harsh reality of her life leads her on a killing spree in which she escapes from the police on the one hand and criminals on the other, and along the way murders the men responsible for her condition.

On the face of it, Netflix's new Turkish series sounds like a crime drama we 've seen there before, usually in different American versions.

In general, television is very much about characters who constantly move between unbearable and compassionate, being at the same time horrible people and also victims of circumstances.



But if similar series usually focused on the moral questions that arise from the fact that we as viewers identify with psychopathic murderers, drug lords, mafia bosses, and even just selfish and self-centered people with self-destruction that also destroys people around them - then in the "Fatma" series the focus He's in a completely different place.

Maybe because usually the TV narratives I mentioned are the story of men, while the "Fatma" series does not even try to hide the fact that it is a story of women.





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Transparent.

"Fatma" (Photo: Netflix)

Feel a little like comparing this series to another Turkish series on Netflix, "Conventions". Also there the main character is a woman on the fringes of society, cleaning with the rich, and she hides to the tools and belittles herself. Miriam, like Fatma, is also at the mercy of men. Indeed, series have similar themes, but "Conventions" deals a lot with the gaze between us and the other who is not like us and the search for closing this gap, when the world of women is only part of it, while in "Fatma" the female point of view is the main thing.



Fatma's character represents a well-known reality in which women are not equal to men, their desires have less weight in any situation, and they are taught from childhood to reduce themselves and be quiet so as not to endanger themselves. Fatma, a woman on the fringes of society, a woman without status, money, education or even security in the form of a husband, is forced to do such a violent act, to be so extreme, just to be present in the world, so that her voice is finally heard. That's the big message of this series,And he swallows everything else - and not in a bad way.

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The choices are not choices at all.

"Fatma" (Photo: Netflix)

The starting point is that we have a main character who is a killer, and to achieve a connection of viewers with such a violent character requires accurate and sweeping acting, and actress Borjo Birijik in the role of Fatma does not disappoint.

Birijik is a well-known actress who stars in popular Turkish telenovelas, and here she surprises the audience who are used to seeing her glamorous, made-up and fashionable.



But her work on the role was probably not just cosmetic.

The series was filmed for four months, during the corona plague and given the restrictions and precautions.

The delay in filming allowed for two months of advance preparations, which are a rare luxury for TV actors.

Birijik said in an interview that she took advantage of this time to explore the psychology of the character, and the complexity of the various traumas she carries.



Turkish actors are accustomed to roles in series with dozens and sometimes hundreds of episodes, each of which is as long as a movie.

But "Fatma" settles for six episodes.

The format forces the creators to tell a fluid, economical story, and requires the work of the actors and director to convey the full range of emotions and drama alongside the plot progression that does not stop for a moment.

And they totally meet the challenge.

The drama is effective, but the acting is not excessive and does not slip into the realm of melodrama.

The photography is meticulous and the frames of the series are beautiful.

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Careful photography.

"Fatma" (Photo: Morteza Atabaki)

The plot combines surprising twists with an inside look at the souls of the various characters, who are no less complex than the main character: Fatma's sister, who imitates her from her life so she doesn't have to deal with their past, the lawyer with a developed sense of morality who tries to help. Easy at all, and more. Each character, and especially if she is central, has layers of psychological conflict (even a character who only appears for a very short time, like the young mistress), and they are all here to show that the choices women have in the world of the series are sometimes not choices at all.



If so, the main conflict of the series is between women, led by Fatma, and all the factors that keep their lives on the margins, in a state of helplessness.

In every way possible, Fatma is subject to the whims of men, their violence and their decisions.

In the first episode there is a feeling that all the doors are closed to this innocent woman, that there is no way out.

Her past is tragic, her husband was released from prison and disappeared instead of returning to her.

He does not even know what happened to their child in his absence, and Fatma is dealing with her tragedy and trauma alone.



We learn that she works as a cleaner in a mall and in the homes of wealthy people.

She lives in a small, dilapidated apartment that belongs to her neighbor, a scary and drunk man who sexually harasses her, threatens her and tries to enter her apartment in the middle of the night.

She works for men who are involved in all sorts of dubious matters, and it seems that her absent husband was also involved in them, and now she also has debts.

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Dealing alone with tragedy and trauma.

"Fatma" (Photo: Netflix)

From there things just get more complicated, and Fatma sinks deeper and deeper into the swamp of people trying to take advantage of her helplessness.

She lives in a pressure cooker, in a constant state of anxiety that is hard not to identify with.

Never in a safe, calm, safe place.

Only occasionally, when she works with a writer whose house she cleans, can one get a glimpse of the real Fatma.

Who could she be if her life were different, if she could stop the war for survival and just be her.

He, too, who cares, does not really listen to her, and he also uses her, as he is inspired by her character and learns it for his writing.



When we first enter Fatma's world, there is no longer any trace of the girl she once was, the one who played football with the boys and fought for her sister. She has already reached a breaking point. Suddenly the violence that happened by chance becomes hope, a starting point, a solution to its problems. Suddenly she has a gun, and she "needs it," she says. This is the only thing that balanced the power play between her and all those around her a bit. She found a way to fight the current that was pulling her to the bottom, perhaps for the first time since she was a child. But since she is ultimately a moral woman and not a cold-hearted psychopathic killer, she is constantly looking for a way out, looking for a way back. And so she swings from place to place, fleeing for escape, half of her trying to survive and the other half begging to be caught.



In this story, Fatma's weakness is also her superpower.

A woman who travels in a masculine world that ignores her, her needs, desires and pains, and "remembers" her only when she performs a function that is beneficial to him.

She is an "invisible" woman.

Fatma repeatedly finds herself the moment she's sure she's caught, and is finally stopped from her killing spree, but is only ignored.

She even checks in several times, once right at the police station.

But she is like a transparent creature in the eyes of other people - they see through her.

They do not hear her.

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A game that always conveys the hopelessness.

Borjo Birijik, "Fatma" (Photo: Morteza Atabaki)

The thought that one can take this invisibility and turn it into power is a beautiful fantasy but unrelated to reality. The metaphor of "Fatma" is not exactly refined. It shows us a lot of ways, small and large, in which the journey that the protagonist goes through is an extreme of what women go through everywhere, in every society - pushed to the margins in clear or hidden ways, reduced to a utilitarian function, and exploited. The feeling of security often seems like an illusion.



Fatma is a character who is very easy to feel empathy and compassion for, from the first moment of the series to the last. Although by law she is a serial killer, sharp and smooth, to viewers all the time her motive is clear - the vulnerabilities done to her throughout her life. The question of morality is asked here only in a weak answer, because it is hard not to identify with her desire for revenge and justice, and hard for the heart not to encourage her to eliminate all the exploiters, rapists, users, ignorers and abandoners in her life.



The precise direction of the creative Uzgur Onorma, and the great acting of Borjo Birijik, make sure that we feel at every moment her hopelessness, loneliness and pain.

Unlike all the other people in her life, we viewers see her and her innocence, and can understand that the world in which she lives pressured her systematically and cruelly throughout her life, until he made her a murderer and brought her to the point of no return.

Throughout the series, and in fact almost every moment Fatma is on screen, her eyes express in horror, pain and fear.

She never forgets all the lessons she has learned well - even with a gun in hand, the power is not in her hands.

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Source: walla

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