Kemal Tahir

No synopsis available yet.

No synopsis available yet.

Sadık Pasha is a pleasure-loving and pious pasha who lives in a luxurious Ottoman mansion with his three wives. The balance of the mansion, already full of intrigue with three women, is completely disrupted when he wants to take a fourth wife, thinking that he needs to continue his lineage because he has no children.

1926, Turkey. Anatolia is undergoing a difficult and harsh process marked by turmoil and uncertainty. Alongside the decisive and conscious directives to establish the new infrastructure of the new Turkey, there are also examples of resistance that cause an unstoppable reaction and unhealed wounds. Amidst the political backdrop revealed by this process, which operates with the indifference of a broken clock, individual stories continue to unfold with all their human qualities, and personal conflicts persist in highlighting negativity.

After the release, Iki Gemi Yanyana (Two Ships Side by Side) stirred controversy over its treatment of lesbians, showing two women kissing each other on the lips (later, in Dul BirKadın (A Widow), director Atıf Yılmaz took up the same theme again). This scene creates a moment of interest in this otherwise conventional film.

Murat goes to another city with his five sons to escape the blood feud. but his eldest son falls for an impossible love.

No synopsis available yet.

No synopsis available yet.

Sadık Pasha is a pleasure-loving and pious pasha who lives in a luxurious Ottoman mansion with his three wives. The balance of the mansion, already full of intrigue with three women, is completely disrupted when he wants to take a fourth wife, thinking that he needs to continue his lineage because he has no children.

1926, Turkey. Anatolia is undergoing a difficult and harsh process marked by turmoil and uncertainty. Alongside the decisive and conscious directives to establish the new infrastructure of the new Turkey, there are also examples of resistance that cause an unstoppable reaction and unhealed wounds. Amidst the political backdrop revealed by this process, which operates with the indifference of a broken clock, individual stories continue to unfold with all their human qualities, and personal conflicts persist in highlighting negativity.

After the release, Iki Gemi Yanyana (Two Ships Side by Side) stirred controversy over its treatment of lesbians, showing two women kissing each other on the lips (later, in Dul BirKadın (A Widow), director Atıf Yılmaz took up the same theme again). This scene creates a moment of interest in this otherwise conventional film.

Murat goes to another city with his five sons to escape the blood feud. but his eldest son falls for an impossible love.