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A high school graduate, Yusuf could not pass the university entrance exam. Writing poetry is his greatest passion and some of his poems are being printed in various obscure literary journals. But neither these poems, nor the rapidly falling price of the milk they sell, are being of any benefit to Yusuf and Zehra's lives. When Yusuf finds out about Zehra's secret affair with the town's stationmaster he gets disconcerted. Will he find the way to cope with his anxiety for the unknown future, the rapid change that he is going through and the pain of taking a step into adulthood and leaving his youth behind
Poet Yusuf (35-38) returns to his childhood hometown, which he hadn't visited for years, upon his mother's death. He is faced with a neglected, crumbling house. Ayla, a young girl (17-19) awaits him there. Yusuf has been unaware of the existence of this distant relation who had been living with his mother for five years; He stays by his dead mother's bedside for a while on the morning of his return...
The global corporations have established cities and agricultural zones in areas where the climate is relatively good. These cities are populated by the elites, while the immigrant masses struggle with hunger and epidemics. For unknown reasons, the city’s agricultural plantations have been hit by a genetic crisis - and, as a result, by massive crop failure. Professor Erol Erin, a seed genetics specialist learns of Cemil Akman, a fellow scientist. Apparently, Cemil wrote a thesis about the recurrent crisis affecting genetically modified seeds - but the work was banned by the corporation..
Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.
Making his living from gardening and farming in the land he inherited from his father, Hasan tries to get rid of the power pole that is going to be installed in the midst of his land. His impending voyage to Mecca for pilgrimage leads to soul searching into his past.
Asli, a young mother who is trying to find a nanny to get back to work, finally meets young Gulnihal. Gulnihal is also a mother. With Gulnihal coming into her life, Asli faces her secrets which she has been avoiding herself.
Zeynep, Tülin Özen works in a hotel as a housekeeper. But she suffers hell on earth because of her father's behavior. She only talks to Mustafa, 'Engin Dogan' who works in the same hotel and he is interested in Zeynep. She is not interested in Mustafa who is younger than Zeynep, but she is not indifferent to him. While Zeynep is trying to make a bonfire of bad situation, Selçuk, Budak Akalin who lives on the other side of city is a voice technician. He feels guilty after his wife's death. The suitcase which has his wife's dresses changes the Zeynep's destiny.
After several years of numbly mourning his parents death, 26 year old Selim takes a chance on the US lottery for passports and wins. He decides to sell the family olive grove to raise enough money to live in Manhattan and to break all roots to Turkey, leaving his girlfriend behind. When Selim's aged grand uncle, Nasuhi returns from Russia after 58 years he asks Selim to visit with him the olive grove of his youth. Before they depart, Nasuhi finds a beaten Russian girl, Olga who was robbed when she tried to sell herself to raise money to continue her own search for her sea faring father.
3rd installment of S.K.'s Commitment Trilogy. Plot TBA.
Inhospitable at the best of times, the snow-covered mountainscapes of Eastern Anatolia constituted a fatal frontier for many war exiles after the battle of Sarikamish in 1915, and provides a canvas laced with beauty and threat for this bone-chilling survival yarn, the superb debut feature of Alphan Eşeli. Starting out with three characters – a refugee mother and daughter and their grizzled guide – the film traces their daunting trek across this barren terrain to safety, with the Russians encroaching and other stragglers, including a pair of wounded, frostbitten Ottoman soldiers, all orbiting the same burnt-out village they find in their path. Puncturing its aura of ghostly impasse with some shocking narrative reversals, and constantly prickling with the mutual dread of strangers in gruelling extremes, the movie stakes out hugely credible ground next to established Eastern Front war classics (In the Fog, Come and See) while remaining thoroughly its own beast. (Source: LFF programme)