Nüvit Özdoğru

A Turkish watchmaker is employed to mend a village clock that has not worked for some seven years. However, what seems like a simple and un-exciting task is plunged into a web of mystery and intrigue when the watchmaker innocently witnesses the murder of a beautiful woman on his first day in the village.

A film depicting the final days of the Ottoman Empire through the eyes of the heirs living in a mansion left behind by an Ottoman pasha. The pasha's grandson, his dreamer husband, his alcoholic daughter, and many unemployed and idle friends sell their last possessions and live a pleasant but melancholic life.

A top secret mission for French Intelligence brings Indy to Istanbul during the first world war. Exploring the city's dark and dangerous streets, he is thrust into a web of betrayal and murder when he discovers a vile Turkish plot to assassinate French espionage agents. Evil of a more enduring kind awaits him in Transylvania where he engages in a mortal combat with bloodthirsty Vlad the Impaler and his horrific army of the living dead. With his life at stake, Indy must garner all his strength and wits in order to defeat the fiend and save mankind.

A woman... A man... Two people on the brink of death... Perhaps two people who would never meet, or even if they did, would pass each other by like ships in the fog, never seeing each other... Two separate worlds... Two separate histories... But now 'yesterday' is behind them, and they have met in death. And at the point where death's rules, words, and obstacles have been erased, they have set out to discover life. They shared fear, friendship, anger, and love. Who knows, perhaps even love... This was a life without a tomorrow. That's why "today" was so precious. A woman: Ela... A man: Ömer... They truly lived on the brink of death...

Five short films by five directors based on themes of love and tolerance, each independent of the other. Supported by the Ministry of Culture and Efes Pilsen. The collection includes five short films: Ömer Kavur's "The Meeting," İrfan Tözüm's "Monte Cristo," Yusuf Kurçenli's "Because I Love Her," Erden Kıral's "Moon Stories," and Zeki Ökten's "Always the Same."

Cazibe is a woman in her late thirties, who has never got married or had a relationship with a man in her life. She lives with her old mother and her uncle who feels an attraction towards her. The lonely woman, whose only existence is her small room, spends all her time in this old room, dreaming and fantasising about her ex-lover.

Antti "Zombie" Autiomaa does two things well: play the bass guitar and drink. After several months' sleeping on the streets of Istanbul, he returns to Helsinki where he's called into the army but discharged on mental health grounds after adding turpentine to the officers' soup. Zombie lives bleary-eyed in an apartment off his parents' house where his lonely, unemployed father suffers from heart disease. His girl-friend Marjo has taken up with a hairdresser but comes back to Zombie. His friend Harri hires him as a roadie for his band "Harry and the Mulefukkers" then gives him a chance as a bass player. He has his girl and he has a gig, but can Zombie put the bottle down?

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In 1930s Antioch during the last days of French Mandate of Syria, Please Don't Leave is the story of Triyandafilis, a fifteen year old mentally disabled daughter of a French merchant named Antoin. Triyandafilis, Not having much freedom because of her situation she spends most of her time locked up in the mansion.

During the year of the repressive military regime, a Turkish writer gets disillusioned by the loss of a dear friend and retires to his hometown on a remote island where he feels safe from the political turmoil. There he escapes to the world of memories, having imaginary conversations with his dead friend. However, the news of a new murder alerts him to the dangers lying ahead. Shot in Turkey following the years of military regime, Av Zamani carries autobiographical elements as the director Erden Kiral also had to flee the repressive regime of his country to be an exile in Germany. The weakness of the film is that the director is not able to take enough distance from the events to give the story a more universal appeal. Av Zamani was screened at the Montreal World Film Festival 1988.

After the death of her father, Anne — a brilliant but emotionally unstable painter/sculptor — returns from Switzerland to her home town in Quebec. Setting up a studio, she becomes obsessed with her work, to the extent that she grows farther and farther from her Swiss lover.

The lovely Ayşe moves from her country village to Istanbul in the hope of becoming an actress. One day she meets Haşmet, a grumpy, world-weary street photographer. He takes it upon himself to cure Ayşe of what he sees as her blind optimism, but some of it begins to rub off on the old cynic.