Burak Çevik

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.

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.

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.

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.

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.

Audrey Benac lives alone in Paris after having moved there to tend to the home of her recently deceased friend, Juliane. Moving through the days without any clear motivation or sense of purpose, she tries to re-establish her footing in the world by beginning video correspondences with two filmmakers — Burak, who lives in Istanbul, and Blake, who lives in Toronto. This exchange of words and footage initiates a healing process, but the nature of the interaction is not what it seems.

Audrey Benac lives alone in Paris after having moved there to tend to the home of her recently deceased friend, Juliane. Moving through the days without any clear motivation or sense of purpose, she tries to re-establish her footing in the world by beginning video correspondences with two filmmakers — Burak, who lives in Istanbul, and Blake, who lives in Toronto. This exchange of words and footage initiates a healing process, but the nature of the interaction is not what it seems.

Audrey Benac lives alone in Paris after having moved there to tend to the home of her recently deceased friend, Juliane. Moving through the days without any clear motivation or sense of purpose, she tries to re-establish her footing in the world by beginning video correspondences with two filmmakers — Burak, who lives in Istanbul, and Blake, who lives in Toronto. This exchange of words and footage initiates a healing process, but the nature of the interaction is not what it seems.

Audrey Benac lives alone in Paris after having moved there to tend to the home of her recently deceased friend, Juliane. Moving through the days without any clear motivation or sense of purpose, she tries to re-establish her footing in the world by beginning video correspondences with two filmmakers — Burak, who lives in Istanbul, and Blake, who lives in Toronto. This exchange of words and footage initiates a healing process, but the nature of the interaction is not what it seems.

Yılmaz is the dealer and close friends of famous filmmakers and actors. With the increasing drug operations in Istanbul, Yılmaz is getting paranoid about not being loved by them anymore. This paranoia makes him take bigger risks day by day and he will be destroyed by the desire for being loved.

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.

Burak Çevik’s film reworks the stark black-and-white compositions of Danièle Huillet and Jean-Marie Straub’s 1984 film Klassenverhältnisse (Class Relations) in which German locations stand in for the imagined country of Kafka’s unfinished novel, Amerika. Here, however, depopulated interiors and desolate outdoor spaces carry the phantasmic traces of humanity—voices, shadows, photographs, cars—but never let them appear, suggesting a world in which all connections to the social have come untethered.

Burak Çevik’s film reworks the stark black-and-white compositions of Danièle Huillet and Jean-Marie Straub’s 1984 film Klassenverhältnisse (Class Relations) in which German locations stand in for the imagined country of Kafka’s unfinished novel, Amerika. Here, however, depopulated interiors and desolate outdoor spaces carry the phantasmic traces of humanity—voices, shadows, photographs, cars—but never let them appear, suggesting a world in which all connections to the social have come untethered.

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.

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.

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.

Мужчина реконструирует убийство своей будущей свекрови. Действуя по желанию ее дочери, своего любовника, он нанял наемного убийцу, чтобы убить ее, потому что она выступала против их отношений.

Мужчина реконструирует убийство своей будущей свекрови. Действуя по желанию ее дочери, своего любовника, он нанял наемного убийцу, чтобы убить ее, потому что она выступала против их отношений.

Мужчина реконструирует убийство своей будущей свекрови. Действуя по желанию ее дочери, своего любовника, он нанял наемного убийцу, чтобы убить ее, потому что она выступала против их отношений.

Мужчина реконструирует убийство своей будущей свекрови. Действуя по желанию ее дочери, своего любовника, он нанял наемного убийцу, чтобы убить ее, потому что она выступала против их отношений.

A reclusive woman in her thirties leads a life frozen in time in a cave-like room. In her rare trips to the city, she chats with an oarswoman haunted by the devils. She searches for her twin sister in unfrequented corners of the city. In this journey in which time and space are out of joint, a same dream is recounted time after time.

A reclusive woman in her thirties leads a life frozen in time in a cave-like room. In her rare trips to the city, she chats with an oarswoman haunted by the devils. She searches for her twin sister in unfrequented corners of the city. In this journey in which time and space are out of joint, a same dream is recounted time after time.

A reclusive woman in her thirties leads a life frozen in time in a cave-like room. In her rare trips to the city, she chats with an oarswoman haunted by the devils. She searches for her twin sister in unfrequented corners of the city. In this journey in which time and space are out of joint, a same dream is recounted time after time.

A reclusive woman in her thirties leads a life frozen in time in a cave-like room. In her rare trips to the city, she chats with an oarswoman haunted by the devils. She searches for her twin sister in unfrequented corners of the city. In this journey in which time and space are out of joint, a same dream is recounted time after time.

Этот фильм переносит нас в стамбульский дом престарелых, жители которого, много повидавшие на своем веку, наслаждаются вниманием съемочной группы. Старушка скрипучим голосом рассказывает о том, что она помнит о геноциде армян, помешанный пианист исполняет музыкальную композицию, а потом признается в любви, а слепой фотограф настраивает вспышку, наводя на нас свою камеру. А в это время под ковшами строительной техники происходит зловещее преображение земли вокруг.