Ekin Fil

Witch Trilogy 15+ tells the story of two women who killed their husbands who were violent to them. Aylin and Eve share their home, love, anger, childhood, children, dreams and nightmares. The documentary travels through genres from thriller to experimental as it conveys the emotions that Aylin and Eve have decanted into the letters. He questions the finding of two women “guilty” in the time-and-space-free cycle of violence.

Hasret has been seeing the same nightmare for some time, but she keeps living unaware that what she sees is actually remembering. A 30-year-old woman who works in a News Channel, living alone in the flat left by her musician parents who died in a car crash twenty years ago. Is it? The question creeps into her mind, and then (or maybe even before) her life through recurring nightmares: Is it possible that her parents did not die in a car crash?

Turkey's first “eco” hotel, Naturland Eco Park and Resort, opened in 1991 and operated until 2014. A hybrid of documentary, black satirical comedy and circus-style performance, the film builds on fictional voice-overs that depict the experiences of hotel guests and staff and the gradual decay of the once-pompous and now dilapidated abandoned complex, which was closed due to overwhelming debts and left virtually untouched.

In Istanbul, on the verge of a country-wide power surge, four characters come across in a neighborhood undergoing the process of gentrification for the “New Turkey”: a mother whose son is in prison, a young female dancer, a feminist artist, and a cunning middle man. Their stories intertwine during a drug deal, offering a roaring tale of the contemporary generation.

The struggle of a mother and guidance counselor who will do anything to get her child back to school, expelled from William College, one of the best and most prestigious schools in the country, for a crime she committed.

Based on home movies shot on Super 8mm film, A Family Film places the mother at its center as the narrator while tracing the memories of a family living in Istanbul in the 70s.

A woman in her thirties decides to leave her house in order to escape the feeling of a suffocation that makes her life impossible. The harder she tries to erase her existence from the house, the stronger the house clings to her. Objects, possessions, and ghosts of other people seem to be holding on to her. Worries and disturbances bring her closer to them. That day, the woman realises she cannot undo anything that exists—even herself

A fourteen-year old girl communicates with a spider in a dark basement, without knowing the time and place.

The boring lives of a small chicken farm's caretaker and his younger wife intersect with the seemingly fun lives of the new farmhand and his wife.

A collection of 8mm film reels from İlhan Mimaroğlu’s archive—once tucked away in whisky boxes—has found new life through art. Curated by director Serdar Kökçeoğlu and producer Dilek Aydın, the project brings together visual artists and musicians to reimagine these long-lost images. Over thirty artists transformed the footage into fifteen distinct audiovisual pieces, blending experimental soundscapes with contemporary video art. The project concludes with a special highlight: the first-ever screening of Mimaroğlu’s silent short film about a street jazz festival, accompanied by Erdem Helvacıoğlu’s dark jazz score.

In an age where silence is complicity, Muslimgauze: Electronic Intifada resurrects the haunting pulse of Bryn Jones—the Manchester-born musician who devoted his entire life to the Palestinian struggle without ever setting foot in the Middle East. Through the voices of his publisher and best friend, Geert-Jan Hobijn, Turkish musician Ekin Fil, and Turkish author Şule Demirtaş, the film traces Jones’s obsessive solitude and commitment in the studio, where he crafted a sonic battlefield of noise, resistance, and distortion. Postbellek's short documentary Muslimgauze: Electronic Intifada unfolds where the political collides with the artistic—a visual translation of noise into awakening. Confronting the uneasy intersections of politics, art, and representation, it is not a eulogy but a provocation: a reminder that resistance can echo louder than words—and sometimes, from the most unexpected corners of the world.

A queer couple in a decaying apartment grapple with an immaculate conception.