Ahmet, a prominent intellectual, lost his wife and daughter in a traffic accident which happened while he was spending the night with his lover. As a person who cares about nothing and bows to nothing, Ahmet is not much affected by this tragic event and goes on with his life. After a while, without any apparent reason, he experiences certain changes in himself and his life. Small mishaps, strange misfortunes happen one after another. He is not on good terms with the woman he loves very much anymore. He has difficulties facing life and reveals unexpected weaknesses. Continue reading
It’s the 1930s. The Republic Day Ball is in progress in Zonguldak, a coal mining town in Turkey. Among the invited guests are the newcomers to this small and boring town: Halit, an engineer; his gorgeous wife Mukerrem, and Halit’s sister and unwanted household member Seniha. During the ball Seniha realizes she would be the one who determines the destiny of beauty. Continue reading
Zeki Demirkubuz plays the lead character Ahmet who wants to make a film about Dostoyevsky’s ‘Crime and Punishment’. He falls into a deep depression, loses interest in the film and life, pushes those who love him away and cannot complete the film. Continue reading
“… an auteur with a genuine spiritual sensitivity … one of the world’s few convincing existential filmmakers”
“… works of genius elevate the soul.”
— Peter Keough, Boston Phoenix
Bekir is in love with Uğur, Uğur is in love with Zagor… Like so many other love stories, this is a simple one-liner. It begins one day in a shop when a man is swept off his feet by a woman. In the course of time, Uğur comes to mean life itself for Bekir. Uğur always comes into the room when Bekir is asleep. For Bekir, sleep and life are akin to an angel or devil, defining on which side of the borderline he stands between sanity and insanity. From that moment on, Bekir finds Uğur beside him whenever he wakes up – which most of the time is in a different town. With Uğur’s presence, Bekir finds life freed of all its absurdity and given instead a single meaning: Uğur. As far as Bekir is concerned, there is no need now to look for any further meaning. His sole form of existence is being with Uğur; it no longer matters which town he is in, which streets he roams, at which tavern he drinks… Continue reading
“Turkey’s most promising new film-maker … the overall impression is that of a fresh talent on the verge of becoming a favourite of the arthouse circuit.”
“Take the ennui of Camus, the soul of Bresson and the unwavering gaze of Kiarostami, and you might get something like Zeki Demirkubuz’s Fate.”
Musa, who works as a bookkeeper in the customs office, believes in the emptiness and absurdity of life. He doesn’t struggle to change his life; he lets himself flow along with events because he thinks that it all leads to the same end. The death of his mother doesn’t affect him. Although he loves her, her death makes him joyful. In order to avoid making any decisions he marries a girl whom he doesn’t like, because she wants it. Whereas in his world, people deal with their fate by their own will and power. Musa is arrested for the death of a mother and her two kids. However, he doesn’t react to this event either… Continue reading
Turkish filmmaker Zeki Demirkubuz is adapting “Notes from Underground,” Fyodor Dostoevsky’s groundbreaking 19th century novel, for his newest directorial effort, which he is currently shooting in the Turkish capital.
Filming for the movie, called “Yeraltý” (Underground), has been under way for four weeks now, with actor Engin Günaydýn, praised for his portrayal of a small-town man in the Taylan Brothers’ critically acclaimed 2009 dark comedy “Vavien,” in the leading role.
Demirkubuz, the director of such acclaimed movies as “Kader” (Destiny) and “Kýskanmak” (Envy), said the long screenplay for the new film was a loose adaptation of Dostoevsky’s existential novella. Continue reading