Elçin Atamgüç

Set during the aftermath of the September 28 1997 military coup of Turkey, one of the most fascinating periods of modern Turkish history, Hilal, Feza and Other Planets follows the unlikely relationship between a pro-Muslim student Hilal and her friend Feza, a male transgender prostitute who aims to become a woman. With cultural and social backgrounds that are superficially, and in their own perception, polar opposites, Hilal and Feza find common ground through their separate struggles against state oppression and social prejudice. Though not always smooth or free of conflict, their friendship survives the test of time despite ingrained prejudices, and we see their mutual respect and understanding for each other grow each time they meet.

In a village where tradition and modernity; material and spiritual goes hand in hand, Ali is the last representative of the tradition in which the fish is regarded highly sacred, and when they die, they are buried with prayers in a special cemetery allocated for them.

From defecting to the Olympics, an underdog weightlifter powers through adversity to raise up his community in this biopic of Naim Süleymanoğlu.

Tarik is a mathematics teacher who is assigned from Anatolia to Istanbul. Director and other teachers explain to him that the school is a difficult one. First of all, the neighborhood is full of unwanted events. Men wait on the corners trying to sell drugs to kids. On top of all, his students hate math class. Tarik's worldview is not only about teaching mathematics but also about turning math into a system that the students can and use in their daily news. As a teacher, he has various ways to get his students interested in the subject. He tries to win them over by reflecting on the mathematical problems and symbols in their daily lives. However, students cannot concentrate on their classes due to the conditions of the school. Tarik finds himself in a huge struggle from the first day on.

A cardiologist tries to pinpoint the cause of her mother's sudden death as her sister, who witnessed it, claims malevolent demons are at play.

Dilek, a housewife suddenly starts to feel presence of something abnormal in a specific room in their house. Though her husband, Omer refuses to agree with her but situation become worse. They find out that, an ancient paranormal creature called Jinn, has cursed on Dilek. They seek for a way to cure her but instead they find out some shocking event of Dilek's early life.

Preparing for her wedding, Kübra gets possessed by unknown livings. To cure Kübra, a psychiatrist, Ebru, gets on way. Ebru is also an old friend of Kübra. Ebru would work together with an exorcist to save Kübra. Just when things seemed to be going well, everything start going horribly wrong.

Turkish director Hasan Karacadag is something of an unusual case. In a nation that appears uncertain how to feel about its own history with exploitation film and generally reluctant to embrace genre film - though there are obvious exceptions - Karacadag has jumped headlong into the horror pool. The director first came to attention with the J-horror influenced D@BB, a surprise hit in Turkey that allowed Karacadag to move on to the more visually ambitious - and effects heavy - effort, Semum. Both film showcased Karacadag's growing ability to shock and terrify his audiences by taking the rich folklore of his country and pushing it to its dark extremes. And he's at it again with D@BB: Bir Cin Vakasi. The sequel to his original hit, this latest efforts puts away the Japanese influence in favor of a more Paranormal vibe, but the underlying mythology remains purely regional with the story following a Turkish family whose home is possessed by angry jinns