Perhaps the two films in Güney's oeuvre with the most jarring tonal shifts are 1974's Arkadas (The Friend) and Anxiety. The former, one of his most ambitious works, is something of a departure in setting for the director, as its milieu is decidedly bourgeois. Güney plays Azem, a public worker who comes to visit his prosperous childhood friend Cemil (Kerim Afsar) amid the decade...$影片将资产阶级的堕落生活方式与无产者的世界对立，通过后者对前者的强烈影响暗示了政治意识形态带来的道德诉求，结尾的枪声更强调了阶级身份的难以改变，但这一点无法交代主角的朋友脱离无产身份的背景。另一方面，导演明显从男性统治视角来理解性别关系，而这恰恰又与传统的社会主义性别角色不符。$1996.03.22
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