User Score
4 votes
Samet, who works as a bouncer in a bar, left home after his father abandoned the family years ago. His mother started living with his brother Emre. After a long time, Samet returns home and tells his brother Emre that he has found their father’s whereabouts and suggests they go together to where their father lives. The two brothers embark on a journey to Konya to confront their past. The other protagonist of the story, Ayşe, leads an ordinary life with her banker husband and seven-year-old daughter Ceren. When her daughter starts school, her encounter with the school’s security guard changes their lives. A secret relationship begins between the two. While Ayşe continues this relationship without fear of being caught, things eventually change. The paths of the two protagonists, Samet and Ayşe, will intersect in an unexpected way.
Director
Writer
Status
Released
Original Language
TR
The movie arose out of our sparetime as teenagers with fresh driver’s licenses and cobbled-together camera gear, wandering around a tired and honestly pretty grim post-industrial mill community, reinforced with after-hours access to the darkroom at the Sun Journal (where Aaron’s dad was the visuals editor), and some half-formed education in the techniques of Robert Frank, Frederick Wiseman, Dogme 95, Italian neorealism, pre-Obama Shepard Fairey, plus whatever culture pushed its way through the creaky pipes of low-bandwidth dial-up internet, or was smuggled up the actual superhighway of I-95 from Boston and eventually New York, or mailed first class via United States Postal Service from a burgeoning Netflix in those classic matte red envelopes, as valuable and rare as cash sent from China. [...] Somehow we negotiated access to a Canon XL1 3-CCD MiniDV camera and shotgun mic from the local public access station, in exchange for taping the high school graduation we didn’t participate in.
Cemil Kaya
Antonio Molina is a criminal in decline that tries to regain the respect for friendship and commitment, at any cost.
