Sunday, November 30, 2008
32nd. Cairo International Film Festival
The International Feature Films Competition
The messenger | Ulak
SYNOPSIS: A mysterious stranger with lots of secrets and a lot to say in his tales pays a visit to a village where people are desperate because of the fear and cruelty they have been suffering. Will the stranger give them hopes to overcome their fears? What are people afraid of? Are sins and crimes punished sooner or later?
Director : Cagan Irmak
Cast : Çetin Tekindor, Hümeyra , Yetkin Dikinciler, Şerif Sezer
Production : Avsar Film - 2008
Time : 102min
Official Selection: Out of Competition
Three Monkeys | Director :Nuri Bilge Ceylan
International competition for Digital Feature Films
Dot | Director : Dervis Zaim
Human Rights Films
Hidden Faces | Director :Handan Ipekci
Havar | Director :Mehmet Guleruz
Refugee | Director :Reis Celik
Sunday, November 16, 2008
ASIA PACIFIC SCREEN AWARDS 2008 NOMINEES ANNOUNCED
17 ASIA-PACIFIC COUNTRIES REPRESENTED IN NINE AWARD CATEGORIESMen Jeuk (Sparrow, Hong Kong), Om Shanti Om (India), Tulpan (Kazakhstan, Russia, Switzerland/Poland/Germany), Uc maymun (Three Monkeys, Turkey/France/Italy) and Hong Se Kang Bai Yin (The Red Awn, The People’s Republic of China) will vie for Best Feature Film in the Asia Pacific Screen Awards to be announced on the Gold Coast, Queensland, Australia, on November 11.
The Asia Pacific Screen Awards (the APSAs) – the region’s highest accolade in film in 2008 - has announced nominees in nine Award categories representing 33 films from 17 countries and areas of the Asia-Pacific region. They are Australia, Hong Kong, India, Indonesia, Islamic Republic of Iran, Israel, Japan, Kazakhstan, Russian Federation, Lebanon, Qatar, New Zealand, People’s Republic of China, Philippines, Republic of Korea, Sri Lanka and Turkey.
Johnnie To’s Men Jeuk (Sparrow) has received four nominations - Best Feature Film, Achievement in Directing, Achievement in Cinematography and Best Performance by an Actor. Uc maymun (Three Monkeys), directed by Nuri Bilge Ceylan, has received three nominations. 
“The nominees were determined from more than 180 films from 43 countries and areas entered in these, the second APSAs. We are greatly encouraged by the response from filmmakers from Asia-Pacific in our mission to acclaim their work and promote it to an international audience. Once again, the nominees showcase the tremendous talent and creativity that exists in the burgeoning film industries of the region,” said APSA Chairman Des Power.
The Asia Pacific Screen Awards – the APSAs – is a collaboration with CNN International, UNESCO and FIAPF – International Federation of Film Producers Associations and is an international cultural initiative to acclaim films that best reflect their cultural origins and demonstrate cinematic excellence.
APSA Nomination for Best Feature Film Uc Maymun’ (Three Monkeys) Turkey/France/Italy
Produced by Zeynep Özbatur. Co-Produced by Fabienne Vonier, Valerio De Paolis, Cemal Noyan, Nuri Bilge Ceylan | A family dislocated when small failings blow up into extravagant lies, battles against the odds to stay together by covering up the truth. In order to avoid hardship and responsibilities that would otherwise be impossible to endure, the family chooses to ignore the truth - not to see, hear or talk about it. But does playing ‘three monkeys’ invalidate the existence of truth?
APSA Nomination and Winner Achievement in Directing APSA for Achievement in Directing to Nuri Bilge Ceylan for ‘Uc Maymun’ (Three Monkeys) Turkey/France/Italy | Nuri Bilge Ceylan was born in Istanbul, Turkey in 1959. After graduating as an engineer from Bosphorus University, Istanbul, he studied filmmaking for two years at Mimar Sinan University, Istanbul. His credits include: Les Climats (2006) Uzak (2003) and Mayis Sikintisi (Clouds of May) (1999).
APSA Nomination for Achievement in Cinematography Gökhan Tiryaki for ‘Uc Maymun’ (Three Monkeys) Turkey/France/Italy | Gökhan Tiryaki was born in Istanbul, Turkey in 1972 and studied economics at Anadolu University. After graduating, Gökhan initially worked in the TV and documentary areas as a cameraman in Turkish radio and television and, since 1996, has been a Director of Photography and Steadycam operator for IMAJ. He has received several awards for his cinematography including Best Cinematography for Climates at the Thailand World Film Festival, 2006, and a Special Award of Mosfilm for Three Monkeys.
Film director Hüseyin Karabey
Claims that the film "Gitmek" (known in English as "My Marlon and Brando") was too "divisive" have led to its screenings in Switzerland being halted earlier this month. But on Friday, 20 copies of the cross-border love story hit the big screen in Turkish movie theaters.
This film, which has already collected such prizes as best film, best director and best actress at a variety of international film festivals, has a total of eight awards to its name. And this can be said about the work: "Gitmek" is absolutely not divisive; to the contrary, it highlights Turkish-Kurdish brotherhood.
The film is based on the story of a journey taken to Iraq during the war by a young Turkish woman named Ayça, who risks her life to see her Iraqi Kurdish love, Hama Ali. The fact that the screenplay is based on the real lives of the leading actors makes this film all the more interesting. This is the first feature-length film by director Hüseyin Karabey; the shooting of this film occurred over a total of 6,000 kilometers in Turkey, Iran and Iraq. We, of course, discussed Turkish-Kurdish tension with Karabey when we talked about his latest film. As a last point before moving on to our interview, it would be fair to note that though "My Marlon and Brando" is an art film, it is certainly neither boring nor slow.
What do you make of the statement from Minister of Culture Ertuğrul Günay, who said that the showings of "Gitmek" at the Swiss Culturescapes Art Festival had been banned because the film was divisive?
Well, actually, this was not the statement made by the minister. But that was what people inferred from that statement. In news about this incident, these were the words attributed to the minister, though.
Well, actually, the minister said: "We do not have a problem with this film. This film is already a part of the festival program." But some articles that appeared in Swiss newspapers carried quotes from different people in various regions of Turkey who said that they would not have allowed the film to be shown, which is why I never took any of this to be aimed at me. There is definitely no such divisiveness in this film. This is, after all, a film that received support from the Ministry of Culture and has passed through the most detailed inspections. In fact, there was not even any age limit placed on this film.
In any case, these recent developments have helped formed certain preconceptions about this film. How are you going to transcend these preconceptions?
I have spoken with high-placed authorities at the Ministry of Culture, who have assured me that in fact Ertuğrul Günay will be attending our gala showing in Ankara. This gala will be on either Nov. 24 or 26.
You say, "If only there were 10 films made like 'Gitmek,' the Kurdish problem in Turkey would be solved." As a cinematographer, how do you think the Kurdish problem could be solved?
Television series tend to portray Kurds as terrorists, narcotics smugglers or people who carry out honor killings. We need to talk about the Kurdish problem on a more real, human level. We need films that show Kurds and Turks living in equal conditions, so that people understand that both sides are people who can fall in love, who have senses of humor, who miss their children, who want the warring to end. All Kurds really want to achieve the same level of life they see others enjoying when they watch television; they really don't want anything else.
The people in the main roles are not types we are accustomed to seeing in films. One is a quite heavy woman, while the other is a bald man. Why did you make these choices for actors?
I wanted to turn all the clichés upside down. For me, the real heroes in life are us, the real people. I try to remind people of this, convince people of this. I am not going to create false heroes in my films. To wit, you notice that during the film, Ayça becomes more and more beautiful, and in fact you begin to become jealous of her love affair, and you begin to wish that you too could experience something like it.
Right up to the end of the film, the viewer doesn't see the conditions of war in which Hama Ali lives. Was this because of the difficulties in filming in that region, or for some other reason?
There is a different reason, actually. In the film, we always view Hama Ali through Ayça's screen. This is actually a criticism of our perception of reality these days. … These days, we make do with what we see on our monitors. We no longer seem to say, "Let me go and see what actually happened there." Also, I wanted to make the action of Ayça going to Iraq form some question marks in the viewers' minds. Like, "Is it worth it for this man? Is this man really giving it his best effort? Is it really difficult to get from Turkey into Iraq?" Because if the man awaiting her on the other side had been some sort of Brad Pitt type, I have no doubt everyone would have jumped at this journey! I think what is important in life is not who you love, but how you love.
In the news, we read that while people pass from the north of Iraq into Turkey, that the reverse is impossible. While Ayça attempts the impossible, Hama Ali says in his video to her that as soon as the borders are opened, he will walk all the way to be by her side. Is this a mistake in the plot? Or are we to understand that Hama Ali does not love her as much as she loves him?
Actually, there is not enough information provided in the film at that point. I should have underscored this more clearly. You are not the first person to ask this question, and you are clearly a careful viewer. It is impossible for Iraqis to go back and forth between Iraq and Turkey. As for Turks, they do have permission to pass from Iraq back into Turkey. But Turks do not have permission to go from Turkey into Iraq.
In one part of the film, we hear the words, "The Americans are killing the Arabs, and the Arabs are killing each other and the Kurds. The Kurds are afraid of being killed as Saddam did to them in 1991." Are the Kurds as pure as all this?
No, definitely not. In fact, the film contains criticism of Kurdish leadership because there is no meaning to savior and freedom that comes from another's hand. In the end, forces may come and stay for a while in your land, but the same pressures put on by Saddam will be exerted by another this time around. Hama Ali is living out these conflicts on his insides. He is afraid that what happened to the Kurds in 1991 will happen again. In the end, this is the result of mistaken decisions taken by their politicians.
A chauffeur from Diyarbakır is talking to Ayça as though he knows absolutely nothing about Istanbul, and asks her "Do they ask for passports in İstanbul?" Then he adds: "I am from Diyarbakır, but they ask us for our identification. It's a crime if you have one and crime if you don't!" What is it that you are trying to explain here? I understand how not carrying your identification around with you could be a crime, but how could it be a crime to have your ID with you?
With these words, I wanted to portray some of the pressures that Kurds experience in daily life. There is no one who doesn't know that when certain [violent] incidents take place in Istanbul, police stop people to check their identity cards and that it is always the citizens from the East who are taken under arrest. In this sense, whether or not you have your identity card with you, there is no way to avoid being arrested. If what we are talking about divisiveness, this derives directly from the fact that the state itself does not treat its citizens equally. The anger of the chauffeur is this: "You come and go from over there. But did you know, around here, it's not so easy. No matter what we do, it's difficult. No matter what we do, we are guilty!" Automatically seeing certain factions as potentially guilty in a number of situations opens the way to great anger. And what I am most afraid of is this anger exploding. That anger, which still hasn't exploded despite all the provocation that has occurred, if it does in fact explode one day, there will be very bad things that happen here in Turkey. Because some people no longer have anything left to lose: no village, no home, no work, belittled every day … With this film, I am saying, "Be a little different from the others, try to understand the spiritual state your brothers and sisters are in, support them." This film really says "The real problem facing the people living in the East is how they are supposed to live dignified daily lives. There is really no other request on the table, be aware of this." I believe that the moment people really become aware of this, peace will settle permanently in Turkey.
When he sees images of mountains in his video, Hama Ali says, "The mountains are the friends of Kurds." After that, he shows a photograph of himself from when he was 23 years old, saying that at that time he was a peshmerga. Won't these things disturb Turkish viewers?
Well, I think that if a viewer is determined to find something wrong or disturbing about the film, they will find it in the end, no matter what. We need to allow an approach which is on the side of friendship, peace and talking about the brotherhood between these two peoples. If you are trying to prove a certain point, of course you can perceive certain things I say, or certain things you see in the film, as proving your point. But of course, this should not be my goal, nor yours either.
It is quite clear that this film is not in fact divisive. But there are unsettling details in this film.
Well, for 92 minutes, this film does talk about gigantic topics. You are not, for example, mentioning the words spoken by the Kurdish mother. If you put the spotlight on these words, which are about peace, then this is what the viewer will watch out for. I am defending this film, which is why I have invited the Ministry of Culture to attend the gala opening.
Is the love between Ayça and Hama Ali, who risk death for this love, still ongoing?
The war does not allow this love to live on. Their relationship turns into a very close friendship. If they weren't such good friends, we would never have been able to make this film.
That whole "I don't want a Kurdish son-in-law" or "I can't imagine having a Turkish daughter-in-law" mentality continues in Turkey even today. Why? How do we get over this?
Well, to prevent peace just because certain people don't want it is stupid. This is actually a kind of special wealth; it's from God that we have become so intertwined. If it weren't for the rising tides of nationalism we have seen over these past five years, no one would even be thinking these things. We need to share with each other the richness that our mutual existences provide. Actually, I do believe that an incredible level of peace and brotherhood really does exist on this soil.
16 November 2008, Sunday
SERKAN KARA İSTANBUL
Friday, November 14, 2008
|Three Monkeys / Nuri Bilğe Ceylan|
A family dislocated when small failings blow up into extravagant lies, battles against the odds to stay together by covering up the truth... In order to avoid hardship and responsibilities that would otherwise be impossible to endure, the family chooses to ignore the truth, not to see, hear or talk about it. But does playing Three Monkeys invalidate the truth of its existence?
|Nuri Bilğe Ceylan|
|Ebru Ceylan, Ercan Kesal, Nuri Bilğe|
|Ayhan Ergürsel, Bora Gökşingöl, Nuri Bilğe Ceylan|
|Yavuz Bingöl (Eyüp), Hatice Aslan (Hacer), Ahmet Rıfat Şungar (İsmail), Ercan Kesal (Servet), Cafer Köse (Bayram), Gürkan Aydın (child)|
|Pyramide Films, France T. + 33 1 4296 0101 F. +33 1 4020 0221 www.pyramidefilms.com|
|Rosebud T. +30 210 6786505 F. +30 210 6755067 email@example.com www.odeon.com|
|Zeynep Özbatur, Fabienne Vonier, Valerio De Paolis, Cemal Noyan, Nuri Bilğe Ceylan|
|Zeyno Film & Pyramide Films & Bim Distribuzione NBC Film & IMAJ|
|Turkey, France, Italy|
|Nuri Bilğe Ceylan|
1995 Koza/Cocoon (short)
1997 Kasaba/Small Town
1999 Mayis sikintisi/Clouds of May
2008 Üç Maymun/Three Monkeys
He was born in Istanbul in 1959, but grew up in the country. He studied Filmmaking at Mimar Sinan University in Istanbul. "Small Town", was screened at festivals around the world and won numerous awards. "Distant" won many national and international awards, including the Grand Jury Prize and the Best Actor Award at the Cannes IFF. "Climates", won the FIPRESCI Prize at Cannes IFF 2006, while "Three Monkeys" won the award for Best Director at Cannes IFF 2008.
|Süt / Semih Kaplanoğlu|
Young Yusuf, 18-years-old, is disconcerted when he learns that his mother Fatma, 40- years-old, is having a secret affair with the town’s railroad stationmaster. Should he behave in accordance with the traditional male-dominated culture and traditions of the town or should he develop a new perspective that goes along with the new modernization process that is on-going in the area?
|Semih Kaplanoğlu, Orçun Köksal|
|Melih Selçuk (Yusuf), Başak Köklükaya (Zehra), Şerif Erol (Station Master), Rıza Akın (professor), Saadet Işıl Aksoy (Semra)|
|The Match Factory Germany T. +49 221 539 709-0 F. +49 221 539 709-10 firstname.lastname@example.org www.the-match-factory.com|
|Kaplan Film Production|
|Turkey, France, Germany|
|Arizona Films, Heimatfilm|
1984 Mobapp (short)
1993 Asansör/Elevator (short)
2000 Herkes kendi evinde/Away From Home
2004 Meleğin Düşüşü/Angel’s Fall
Hewas born in Smyrna, Turkey in 1963 and received a degree in Film and Television from Dokuz Eylül University, Smyrna in 1984. His debut feature film, "Away From Home", has won many awards. His second feature film, "Angel’s Fall", had its World Premiere at the 55th Berlin FF, and was screened at the Thessaloniki IFF in 2005. "Egg" is the first part of a trilogy called "Egg-Milk-Honey". "Egg" was invited to the Director’s Fortnight at the Cannes IFF 2007, while the second part of his trilogy, "Süt", received production support from the World Cinema Fund of the Berlinale.
|Shell / Uygar Asan|
Burhan a young man in his mid-twenties, works at the post office. His job is allocating the incoming letters according to their addresses. He lives alone. His mother and sister are dead. His father is a retired army officer who is now a senile and lives in a clinic. He likes a girl that he has never disclosed his feelings to. He has his own way of building a relationship with her that causes him trouble. Despite the troubles he faces, he manages to go on with his life thanks to a letter addressed to someone else. Burhan will start behaving in an strange manner and he will pose as someone else through this letter. What will this new situation bring? Will the “shell” that Burhan lives in break? Will he find a way out from his alienated life?
|Anita Sezgener, Nilay Kacar|
|Sezgin Cengiz (Burhan), Ayşe Bayramoğlu (the girl working in the laundry), Tolga İskit (Burhan’s friend at the post office)|
|Yeşil Karinca Video Düş Laboratuvari, Turkey Uygar Asan T. +90 216 550 1142 email@example.com www.yesilkarinca.com|
|Yeşil Karinca Video Düş Laboratuvari|
1995 13 (short)
2003 Where is the House of the Wind? (short)
2003 Perpetuum Immobile (short)
2003 Leap into the Void: İlhan Usmanbaş
2005 Winter Garden
He was born in Isparta in 1967 and studied at Mimar Sinan Fine Arts Faculty Cinema-TV Department for two years. From 1995 until 2002, he worked in various jobs except cinema. During these years he was only interested in literature, and published poems and writings. By the year 2003 he started to write and direct his own films. He lives in Istanbul.
|Pandora’s Box / Yeşim Ustaoğlu|
When three forty-something siblings in Istanbul receive a call one night that their aging mother has disappeared from her home at the western Black Sea coast of Turkey, the three set out to find her, momentarily setting aside their problems. As the siblings come together, the tensions between them quickly become apparent, like Pandora’s box spilling open. They come to realize that they know very little about each other and are forced to reflect on their own shortcomings.
|Yeşim Ustaoğlu, Selma Kaygusuz|
|Bernd von Bassevitz|
|Tsilla Chelton (Nusret), Derya Alabora (Nesrin), Onur Ünsal (Murat), Övül Avkiran (Güzin), Osman Sonant (Mehmet)|
|The Match Factory, Germany T. +49 22 153 9709-0 F. +49 22 153 9709-10 firstname.lastname@example.org www.matchfactory.de|
|2-1-0 Films T. +30 210 3303433 F. +30 210 3303432 email@example.com www.2-1-0.gr|
|H.F. Farsi, Elif Taşçioğlu, Serdar Yilmaz|
|Yeşim Ustaoğlu, Muhammet Çakıral, Serkan Çakarer, Behrooz Hashemian, Setareh Farsi, Natacha Devillers, Catherine Burniaux, Michael Weber, Tobias Pausinger|
|Ustaoglu Film Yapim|
|Turkey, France, Belgium, Germany|
|Silkroad Production & Les Petites Lumières & Stromboli Pictures & The Match Factory|
1994 Iz/The Trace
1999 Günese yolculuk/Journey to the Sun
2004 Bulutlari beklerken/Waiting for the Clouds
2008 Pandoranin kutusu/Pandora’s box
She was born in Sarikamis, in eastern Turkey, in 1960. After making several award-winning shorts in Turkey, she made her feature film debut with 1994’s "The Trace" which was presented at numerous international festivals. Her second feature film, "Journey to the Sun", won the Blue Angel Award for Best European Film at the Berlin IFF and the Best Film and Best Director prizes at the Istanbul IFF in 1999. "Waiting for the Clouds" won the Special Jury Award and the Best Actress award at the Istanbul IFF and was screened at the Thessaloniki IFF 2004.
|My Marlon and Brando / Hüseyin Karabey|
Hama Ali, a charismatic B movie actor from Iraq, and Ayça, a similarly rotund but charming actress from Turkey, met on a film-set. Their love affair continued across borders through video love letters and broken phone calls until the Americans invaded Iraq and hellish violence engulfed the country. As most people fled from East to West seeking safety, Ayça decided to make the journey from West to East, seeking her lover. This dramatic feature film is the true story of her extraordinary, and ultimately tragic, experiences in such mad times...
|Hüseyin Karabey, Ayça Damgaci|
|A. Emre Tanyildiz|
|Kemal S. Gürel, Erdal Güney, Hüseyin Yildiz|
|Ayça Damgaci (Ayça), Hama Ali Khan (Hama Ali), Cengiz Bozkurt (Azad), Savaş Emrah Özdemir (Soran), Ani İpekkaya (Mrs Ariknas)|
|Insomnia World Sales, France T. +33 1 4358 0804 F. +33 1 4358 0932 firstname.lastname@example.org www.insomnia-sales.com|
|Lucinda Englehart, Hüseyin Karabey, Sophie Lorant|
|A-si Film Yapim & Motel Films & Spier Films|
|Turkey, The Netherlands, UK|
1996 Etruch Camp (doc.)
1999 Boran (short)
2003 Gift to Nazim Hikmet Ram (doc.)
2001 Silent Death (docu-drama)
2004 Breath (Pina Bausch) (doc.)
2007 I Cheated Death at the Meeting Point (doc.)
2008 My Marlon and Brando (Gitmek)
He is regarded as one of Turkey’s new directing talents. His previous works, "Boran" and "Silent Death", both won numerous awards and have been shown at film festivals worldwide. His documentary "Breath", has been shown everywhere from Japan to Cuba. Apart from filming, he also lectures at universities and cultural organizations in Turkey. "My Marlon and Brando (Gitmek)", his first feature film, was selected for Cinemart 2006 and IFP No Borders in New York in 2006.
|Lost Songs of Anatolia / Nezih Unen|
As the fruit of 350 hours of footage and 5 years of labor and creative study, "Lost Songs of Anatolia" may be the first example of its kind as a documentary-musical film. The cultural riches of Anatolia are sung in authentic performances recorded live on location, spontaneously. Through the modern arrangements, an incomparable musical is formed. While this journey shows how music and culture is derived from life, geography and work, an exploration of Anatolia’s versatile cultures takes place on the basis of music, dance and rituals. The staggering environment surrounding these people and influencing their lifestyles contributes to the lyric flow of the film.
|Aras Demiray, Behic Gulsacan|
|featuring: Cemile Yildirim, Cetin Icten, Osman Turan, Osman Efendioglu, Cevahir Serbetci, Mustafa Metin, Cevdet Oztopal, Halil Er, Mehmet Bedel, Mehmet Celer, Kirtil Folk Music Ensemble, Muhammet Demir, Ceyhun Demir, Ismail Ozdemir, Denizli Zeybek Dancers, BehzatYurt, Ali Kara,Mehmet Demir, Madine Ozen, Orhan Karadagoglu, Mahmut Karatas, Sabri Yokus, Herkul Boncuk, Ali Bilgis, et al.|
|Nezih Unen Productions, Turkey T. +90 212 257 4562 F. +90 212 263 4930 email@example.com www.nezihunen.com|
|Nezih Unen Productions|
2008 Anadolu’nun kayip sarkilari/Lost Songs of Anatolia (doc.)
He graduated as an Engineer from Bogazici University. Always interested in music, photography and drama, he pursued his career in music as a composer, producer, arranger and singer. The most common aspect of his works has been the fusion of music from different genres and cultures in a unique personal style. In his 20-year music career, he produced music videos and made music for films. These experiences gave him the courage to start his first film, "Lost Songs of Anatolia".
|Dot / Derviş Zaim|
Dot is the story of a man tormented by a crime he once committed, who now seeks to redeem himself. The action, which advances along an axis of crime and punishment, organically incorporates one of Turkey’s traditional art forms, calligraphy, into the story. One of the most striking ways in which calligraphy marks both language and content is the film’s structure as a single, fluid shot.
|Mehmet Ali Nuroğlu (Ahmet), Serhat Kılıç (Selim), Settar Tanrıöğen (Mumin), Şener Kökkaya, Mustafa Uzunyılmaz, Nadi Güler|
|Sarmaşık Sanatlar, Turkey Baran Seyhan T. +90 212 219 5335 F. +90 212 219 5334 firstname.lastname@example.org www.sarmasiksanatlar.com|
|Derviş Zaim, Baran Seyhan|
|Marathon Film & Sarmaşık Sanatlar|
1996 Tabutta Rövaşata/Somersault in a Coffin
2000 Filler ve Çimen/Elephants and Grass
2006 Cenneti Beklerken/Waiting for Heaven
He was born in Famagusta, Cyprus in 1964, graduated from Warwick University in England and studied Film Production in London. In 1995, his first novel, "Ares in Wonderland", won the prestigious Yunus Nadi literary prize in Turkey. A year later he made an auspicious debut as a director with "Somersault in a Coffin", which won various awards, including the Silver Alexander at the Thessaloniki IFF 1997. All of his films have received honors and awards in film festivals around the world.
|Autumn / Özcan Alper|
Sentenced to prison in 1997 as a university student at the age of 22, Yusuf is released on health grounds 10 years later. He returns to his village in the Black Sea region, where he’s welcomed only by his sick and elderly mother. It turns out that his father died while he was in prison and his older sister got married and moved away to the city. Economic factors mean that it’s almost exclusively old people who live in the mountain villages, and the only person Yusuf sees is his childhood friend Mikhail. As autumn slowly gives way to winter, Yusuf meets Eka, a beautiful Georgian hooker. Neither the timing nor the circumstances are right for these two people from different worlds. Even so, love becomes a final desperate attempt to grasp life and elude loneliness.
|Yuri Rydahencko, Ayşenur Kolivar, Sumru Agiryürüyen, Onok Bozkurt|
|R. Gulefer Yenigül (mother), Serkan Keskin (Mikail), Onur Saylak (Yusuf), Megi Koboladze (Eka)|
|Media Luna Entertainment GmbH, Germany T. +49 221 801498 F. +49 221 80149821 email@example.com www.medialuna-entertainment.de|
|F. Serkan Acar, Kadir Sözen|
|Kuzey Film Production|
|Filmfabrik Spiel-und Dokumentarfilmproduktion|
2001 Grandmother (short)
2002 Voyage in Time with a Scientist (short doc.)
2005 Rhapsody and Melancholy in Tokai City (short doc.)
He was born in Artvin, Turkey in 1975 and studied Physics and History of Science at the University of Istanbul. Since 1997 he has been working as assistant director and production manager on a variety of feature filmand TV productions. He directed a short fiction, "Grandmother", and two short documentaries, "Voyage in Time with a Scientist" and "Rhapsody and Melancholy in Tokai City".