“Kağıt” (Paper) stars Öner Erkan as Emrah, a young man with a passion to make movies. As he directs his debut film, he hits bureaucratic roadblocks, first in receiving a certificate of eligibility to film on the grounds that it threatens the unity of the state, and later when he finally tries to release the film, the shooting of which proved so difficult. Bureaucrat Müzeyyen (Asuman Dabak) becomes the symbol of Çetin’s dysfunctional and autocratic state, turning every stage of filmmaking into hell. Emrah takes revenge on the woman by kidnapping her.
Filmmaker, movie mogul, commercial powerhouse and larger-than-life public persona Sinan Çetin has taken a break from making ads to return to the silver screen with ‘Kağıt’ (Paper), a not-so-subtle autobiographical metaphor about one man fighting bureaucracy to make a film. ‘Kağıt’ is the latest testament to Çetin’s contradictory stance toward the state.
It would be unfair to call Sinan Çetin just a filmmaker, despite the broadness of the term. He has remained a hovering presence over Turkey’s pop culture for two decades whether he makes movies or, as is generally the case, does not. Çetin is a persona who is much larger than the sum of his parts. It’s a rule of thumb that nearly all popular figures generate their unique brand of devoted fans and followers, along with haters of a similar fervor. With Çetin, the number of fans and followers has diminished and are arrayed against an impressive number of detractors that include other filmmakers, movie critics and viewers. The director, however, has chosen to show the finger to anyone who deigns to tarnish his work and his persona and has managed to maintain his position in Turkey’s culture scene and his currency among the artistic elite. Çetin is a director, producer, writer, actor, publisher, commercial powerhouse, movie mogul and a real estate mogul. His directorial debut, “Bir Günün Hikayesi” (Story of A Day), goes back to 1980, when he wowed critics and audience as a promising newcomer. His subsequent films “Çirkinler de Sever” (Ugly But In Love) and “Çiçek Abbas” (Abbas in Flower), both in 1982, received positive reviews as well. Interestingly, the early 1980s is a period Çetin doesn’t much care to remember yet alone be proud of. Since then he has directed, produced and wrote the occasional blockbuster, as well as the flop. Çetin is now more associated with the hundreds of expensive, extravagant and award-winning commercials he directs and produces. He is also rumored to own half of Istanbul’s Cihangir neighborhood, where his production company Plato Film and film school Plato Okul are located. (-DailyNews)