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Nesrin and Erdem talk about their relationship, which they don’t remember in exactly the same way. Çevik’s visually stunning essay uses their conversations to forge a pensive treatise on what it means to forget, where word and image play an equal role.

The Corridor is the story of two old sisters who have totally opposite characters and had to live together. They are carried to loneliness, they can’t socialize neither to each other nor to anyone else. They fall into despair and wicked behaviors but never hurt anyone else but themselves and each other.

A Turkish-Jewish family faces a series of dilemmas on the morning of Susam’s Bar-mitzvah ceremony with the limitations of Shabbat day rules when Susam locks himself in his room and does not get out for his ceremony.

Cansu and Oguz, a couple in their mid-twenties, deeply love each other for many years. Oguz is a strong person who always supports and motivates his partner whereas Cansu’s love is inspiring for everyone around but she is always afraid about becoming distanced from Oguz. However, this fear unexpectedly turns into different feelings when her concerns become real in the most extreme way.

After decades of devastating war in Iraq, the horrors are still fresh in the minds of different generations. Their disturbing stories are filmed in a poetic style that also cautiously opens a door to beauty and contemplation.

Haluk, an incompetent factory owner, competes with his wife and skillful operations manager Güler. As the power crisis between the husband and wife escalates, someone unexpected will suffer from it in a most tragic way.

Veysi lives in a village in the middle of Anatolia. One morning, when he goes to his barn with his son Mustafa, a pack of wolves attacks on his sheeps and Veysi loses most of them. Thus he wants a better gun to protect his herd, which is Mauser, ‘The king of the rifles’ as they say. Eventually he finds himself in a fight with the wolf and also his brother about their fathers inheritance.

Phases of Matter follows living and inanimate residents of a teaching hospital in Istanbul, moving from the operating room to the morgue, between life and other states, the real and the virtual.

Video: Istanbul Metropolitan Municipality, live action footage shot in Istanbul, Turkey, June 8, 2015. Sound: A family on their way to vote in the Turkish general election of June 7, 2015.

Leyla is a woman who defines herself through the eyes of her boyfriend and tries to adapt to the world of men. After several psychological violence by her boyfriend, she feels left out and cannot take the pressure any longer. One day she meets a "drag queen" named Özgür and follows him through the night. Özgür helps Leyla overcome her fear of being judged by others. This friendship gradually turns into a journey where Leyla breaks her shell.

A murder investigation is flipped inside out in Burak Çevik's second feature, a spellbinding and surprising work that questions whether we can ever truly understand criminal motives. We begin in the present as an unseen narrator recounts the assassination of his lover's disapproving mother, accompanied by hauntingly vacant images of urban alienation and garish city lights; we then flash back to witness the first encounter between the lovers-turned-accomplices, their mutual attraction and world-weariness emerging across a sleepless night and morning after. Çevik imbues the proceedings with a stylistic confidence and willingness to bend the conventions of cinematic form to arrive at a complex, gripping double meditation on love and death.

A brother and sister aged 8 and 14, are forced to leave the place they once called home after the sudden break-up of their parents, and revisit as ‘guests’. The return is to bid farewell to their father before they move out of the city with their mother.

A man who talks with the buildings of the city meets an old woman who is about to die. They spend a magical night together.