Temmuz is an openly gay sculptor living at a flat with his dog in Istanbul. He lives a bohemian lifestyle and has a happy go lucky, carefree, eccentric (such as believing in good luck charms) character, frequently distracting him from his work as a children’s book illustrator, and eventually leading him to be abandoned by his boyfriend via e-mail. He is given solace and affection by her wealthy mother, who is fully supportive of him, and best friend and co-worker, Beste. In the meantime, he keeps seeing a young man in his dreams, who repeatedly calls him for help and rescue. One day he runs into this guy while getting on the bus, who is accompanied by his mother, and helps them get into their home as the young man was born without limbs. From then on, two lives would collide into each other, starting a brotherhood full of discoveries and mutual help.
“Never my soul” is a phrase taken from the cliche sentence the good-Turkish-girl character says to her rapist in many old Turkish movies – “You can have my body but never my soul!”.
The film has at its centre a transsexual who is pretending to be Türkan Şoray, the real-life super diva of the Turkish Cinema. The transsexual’s true life is similar to the melodramatic plot of a Türkan Şoray movie. She was born a boy, beaten up by her military father throughout her childhood for exhibiting “effeminate” behaviour, taken to psychiatrists at the age of thirteen to cure her of her sexual “deviance,” and later beaten and tortured by a notorious Istanbul police chief. Now living in Lausanne, her kidneys have failed and she is on dialysis. She has to make her living through prostitution. Continue reading
Basri is a lonely man who seems to be floating in his own life. He watches over the railroads, walking the endless tracks through the abundant landscape of Anatolia. His only son, Seyfi, has been taken into custody 18 years ago and no one has heard from him ever since. After the death of his wife, Basri has slowly isolated himself from society. But there is still hope in his life, as he keeps on writing petitions twice a month to look after his son.. Continue reading
A bag full of money lands in front of you. Is it luck? The answer to your prayers? Part of a predetermined plan? Or all of the above? Set in the chaotic streets of Istanbul, 40 is a story of three strangers making their way in a city of 12 million, all searching…for one bag. Shot entirely on location, ’40′ combines intense story telling with documentary style cinematography embarking on a synchronistic journey dealing with faith, love, luck, destiny, human trafficking…and a bag of cash that falls from the sky. Continue reading
Turkish short film director and documentarian Kazim Oz presents his first hour-long narrative feature, The Photograph. Opening in Istanbul, a bus travels on its way to eastern Turkey. Relaxed Ali (Nazmi Kirik) and wound-up Faruk (Feyyaz Duman) sit next to each other on the bus and strike up a friendship, both claiming they are visiting relatives. After a 24-hour journey, the men cordially say goodbye without ever realizing the truth: that one is joining the Turkish military and the other is joining the Kurdish guerrillas. The conclusion finds them reuniting under different circumstances. ~ Andrea LeVasseur, Rovi Continue reading
A young photographer has done his military service in the infantry and lover. And coincidences turn the dirty work of the gang hiding place on the photographer and photographed by her boyfriend prepares beginning of the end. Continue reading
How much space does Zeynep take up in this vast universe? This is a city brimming with the struggling and the unemployed; aren?t their lives a bit like the infinite, tiny particles flying through the air? Zeynep is already trying hard to make ends meet when she gets fired from her job at a textile mill. The Particle follows her as she searches for a job. We follow her in and out of workspaces. Zeynep?s world ? the streets and homes in Tarlabaşı ? are dark and suffocating. In The Particle, the prison-like feeling of the opening sequence never recedes; we relentlessly feel the dead ends of the city, a dystopia. A sober salutation to the working class, this is a very adept feature film from a director who has obviously spent a lot of time with documentary. Continue reading