Yonca Ertürk

A group of unique characters from dramatically different socio-cultural backgrounds meet in startling circumstances in the vibrant and colorful city of Istanbul, some by chance and some by force of will.

The world is ending, but the president of The Grand Turkish Republic won’t let that happen until he has a chicken schnitzel. Gleefully silly science fiction satire with political bite.

Turkish film industry has been experiencing a breakthrough in the last ten years. According to 2015 figures, there is a bold uptrend in terms of viewers and film production. Yet without any regulations at work, this growth only made injustices in distribution bigger. While a single cinema chain controls more then 50% of the market, it also started to control distribution and production. In this monopolized environment, there seems to be no country for independent production. With the guidance of producers, distributors, and economists, the film traces the distortion created by the bad economy that has become an obstacle for freedom of choice.

Onur, who has been deaf since birth, works as a librarian. His father had left him and his mother when he was seven, and Onur has always blamed himself for this. Although being able to speak, he has chosen to stay silent because of the pitying looks of the people around him. At his friend Vedat's engagement party, he meets Zeynep, who later finds out about Onur's hearing disability, but is not bothered by it. She is forced by her overbearing father to leave home and gets a job at a call-center. Having to speak on the phone all day to people she doesn't know, Zeynep finds peace with Onur, who she communicates with perfectly without speaking...

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The film was completed during the huge economical crisis in 2001 in Turkey. Heavily inspired by films like Pi and Matrix, I tried to tell the story of a man who is about to lose his sense, perception and connection with reality. The film is one of the two shorts from Turkey awarded in Clermont Ferrand to this day.

Who is Mihri tells painter Mihri’s untold story. Director Berna Gençalp decides to trace Mihri’s journey from late Ottoman era Istanbul onward to Rome, Paris, and New York. Mihri, whose image, artistic work, and life story have been unjustly obscured, lost, and deformed is revived through archival material, interviews, and animated sequences.

To receive a coal subsidy from the government, Nimet (32) and his son Erkan (9) reach the final stage, where poverty is measured through household investigation. They pass stage two and get the subsidy.