Serkan Çakarer

In the heart of Istanbul's prison, Zakir controls the letters prisoners receive. His average day is spent between the censorship office, his colleagues and his evening writing class. For a writing assignment, he steals a photo from one of the letters, in which appears Selma, an inmate's wife. More than an inspiration, she becomes an obsession for Zakir. He observes her, makes up stories, and imagines the worst to the extent that he puts himself at great risk.

Turkish film industry has been experiencing a breakthrough in the last ten years. According to 2015 figures, there is a bold uptrend in terms of viewers and film production. Yet without any regulations at work, this growth only made injustices in distribution bigger. While a single cinema chain controls more then 50% of the market, it also started to control distribution and production. In this monopolized environment, there seems to be no country for independent production. With the guidance of producers, distributors, and economists, the film traces the distortion created by the bad economy that has become an obstacle for freedom of choice.

Herman and Marie, a couple in their fifties, arrive in Istanbul to pick up the luggage of their deceased son. In his backpack. Herman discovers a logbook of their son's trip through Turkey. Herman decides to reconstruct his son's last journey, to see what he has seen. He drags along his wife into a, what he believes to be, cathartic venture.

Killing The Shadows is a bawdy comic fable set in the Ottoman Empire during the mid-14th century based on two legendary figures in Turkish folkore, the jester Hacivat (Beyazit Ozturk) and the nomad Karagoz (Haluk Bilginer), men who apparently lived and died by their sense of humour.

Años 60 en Tepecik, un pequeño pueblo de la Anatolia. Recep y Mehmet son dos jóvenes campesinos que trabajan como aprendices en la ciudad de Tavsanli, cercana a su pueblo. Recep ayuda a un vendedor de sandías y Mehmet aprende con un barbero. Ambos están locos por el cine y, por las noches, en el establo abandonado de su casa del pueblo, se afanan en fabricar un proyector de cine. Sueñan con llegar a ser directores de cine y cambiar sus vidas. Un día, Recep conoce a una viuda con dos hijas que vive en la ciudad y que necesita sandías para las vacas. Desde entonces, empezará a visitarla para tomar el té o desayunar y, poco a poco, irá interesándose por su hija mayor, Nihal. A ésta, sin embargo, le desagradan las continuas visitas del campesino y lo trata con la mayor brusquedad posible. Por el contrario, a Guler, su hermana pequeña, sí le interesa Recep, pero sus sentimientos no se ven correspondidos.