Dilek Aydın

Having recently returned from compulsory military service, Emrah, who lives with his mother, refuses to socialise, and strolls alone on highways. He hides two letters in a drawer: one that he has written when he was in the army to his former lover, Sevgi, and another that he has found by the side of the dead body of a guerrilla whose life he has taken. Following the address on the letter, Emrah reaches the house of Zeynep, the guerrilla’s lover, and leaves the letter there. But this will not relieve his nightmares. With the help of his uncle, he finds a job as a night watch. Forced to spend the whole night in a small room, Emrah will go through troubled times and the nightmares will become all the worse leading into ever more confusion.

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.

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

Aşık Ziyeddin, an advanced word master in Anatolia of the 60-70s, is in an effort to train an apprentice to continue his profession of word mastery and love interest. The Apprentice Mustafa, who undertakes this hard work, has lost his heart to a girl older than him. He dreams of turning the heart of Gülbeyaz, who does not take care of himself by drinking some food from his hand to become a "Lover of Rights". However, Mustafa's dreams will be tested by religion, destiny, politics and poverty.

At the center of a barren and mysterious universe stands a shed. From within, the Leader oversees his subordinates, but they cannot look inside. After an encounter with one of his subordinates, the Leader faces the fact that his authority is crumbling. In order to regain his authority, he decides to use brute force, but nevertheless the battle for authority persists.

No synopsis available yet.

Having recently returned from compulsory military service, Emrah, who lives with his mother, refuses to socialise, and strolls alone on highways. He hides two letters in a drawer: one that he has written when he was in the army to his former lover, Sevgi, and another that he has found by the side of the dead body of a guerrilla whose life he has taken. Following the address on the letter, Emrah reaches the house of Zeynep, the guerrilla’s lover, and leaves the letter there. But this will not relieve his nightmares. With the help of his uncle, he finds a job as a night watch. Forced to spend the whole night in a small room, Emrah will go through troubled times and the nightmares will become all the worse leading into ever more confusion.

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.

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

Aşık Ziyeddin, an advanced word master in Anatolia of the 60-70s, is in an effort to train an apprentice to continue his profession of word mastery and love interest. The Apprentice Mustafa, who undertakes this hard work, has lost his heart to a girl older than him. He dreams of turning the heart of Gülbeyaz, who does not take care of himself by drinking some food from his hand to become a "Lover of Rights". However, Mustafa's dreams will be tested by religion, destiny, politics and poverty.

At the center of a barren and mysterious universe stands a shed. From within, the Leader oversees his subordinates, but they cannot look inside. After an encounter with one of his subordinates, the Leader faces the fact that his authority is crumbling. In order to regain his authority, he decides to use brute force, but nevertheless the battle for authority persists.

No synopsis available yet.

At the beginning of the 1960s, İlhan and Güngör Mimaroğlu moved from İstanbul to New York to start a new life. With a keen interest in avant-garde music, İlhan Mimaroğlu went on to become a leading composer of the nascent field of electronic music with his work at Columbia University, while Güngör Mimaroğlu would show an exemplary political stance at the forefront of the peace protests that took the 1960s by storm. "Mimaroğlu" is the story of a unique pair of spirits that have complemented each other in many ways.

For Dreaming the Dark: hands that see, eyes that touch, Ana Vaz invited artists and filmmakers whose work trust cinema’s capacity to transform relationships between the body and the camera to propose works that will engage with both perception and embodiment. Could cinema be an art of embodiment? By what rituals and actions could vision become tactile?

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.

Filiz, a young, working mother, struggles with postpartum depression. Seeking moments of escape, she sets out to buy ‘a car of her own.’ Along the way, Filiz meets Şule, and her search for a car turns into an unexpected bond, offering both women a chance at solidarity.