Mustang is Deniz Gamze Ergüven’s debut feature about a Turkish sisterly quintet coming of age in an oppressively conservative household. The girls long for contemporary normalcy on a day-to-day basis, constantly rebelling to little avail as the consequences of their behavior grow more and more severe. Only time will tell if the sisters’ resilience will triumph in the face of adversity as the allure of the outside world grows stronger every day.
Barring obvious parallels to The Virgin Suicides, Mustang‘s primary appeal is contingent upon one’s inherent fascination with cultures not our own. The core sisters – having lost their parents years prior – are at the mercy of their wildly conservative relatives that have a hard time with leniency despite the changing of times. Predetermination and purity are the behavioral cornerstones to abide by and, rest assured, stepping the least bit out of line yields the most dire of consequences. In the girls’ case, an innocuous aquatic romp with male classmates after school garners an indefinite prison sentence set within the confines of their isolated mountainside estate.
The routine motions the girls go through on their road to maturation are elevated by the film’s appreciable personality. Although the repeated instances of situational rebellion are entirely familiar in scope, the script is imbued with a genuine concern for each character to varying degrees of engagement. While these girls are undeniably miserable as a result of their unending solitude, Mustang‘s narrative does well enough in avoiding all-encompassing gloom-and-doom consequence until it goes irrevocably off the rails in its latter moments, losing sight of its earlier, better former self as it staggers toward what’s an agreeably tidy conclusion.
Without nitpicking, I’m confident in saying that Mustang is a serviceable debut that undeniably exudes promise from Ergüven. It combats familiar subjectivity with a singularity of setting that feels personal and remains engaging despite its shortcomings. While I didn’t connect with the proceedings as much as others, the film’s incisive gaze into the lives of these sisters is one of note, even if a fumbled latter-act crescendo pales substantially in comparison to what precedes it.