Gökhan Mete

Years after a divorce divides their family in half, six siblings encounter each other by chance and try to get their parents back together.

Political satire comedy featuring the memories of a red leather chair. He is aware that no matter who the next governor will be, more corrupted will the system get. But only until the last governor who decides to set him on fire.

Gülizar is a young and beautiful village girl. Against her will, she is betrothed to a young man from her village at her family's request. Her fiancé goes to Istanbul to work in order to earn a dowry. One day, Gülizar's fate suddenly changes with the arrival of a new teacher in the village. Gülizar secretly falls deeply in love with the teacher, İsmail. They eventually decide to marry. However, the teacher's death in an accident shatters Gülizar's world. Her fiancé returns to the village with the dowry money after some time. While Gülizar endures the immense pain of losing her beloved without being able to share it with anyone, she is forced to marry her fiancé. Yet Gülizar has become the woman of the young teacher she loves. Gülizar's father is caught between tradition and his daughter, as according to custom, her honor can only be cleansed by her death.

Reminiscent of Martin Scorsese's 1985 production, After Hours, this film narrates the events of a night in the chaotic backstreets of Beyoğlu in Istanbul. The day he receives his wage, and after arguing with his wife, Haydar (Tarik Akan) leaves the house in a fury and heads to Beyoğlu for a wild night out. However, a prostitute and her pimp bring him such troubles, and he finds himself penniless and in police custody.

A group of women in a small village get organized against the macho men of the town.

Aziz, a former Yeşilçam director, was devastated when the woman he loved, Leyla, starred in a sex film, and he left Istanbul. Thirty years later, the stubborn man sells everything he owns and returns to Istanbul to film the script he has kept under his arm. Upon arriving in Istanbul, Aziz's first task is to find his "old friends." The elderly crew members are excited by the idea, but none of them are where Aziz left them, or as he left them. A lot has changed since then. Most of them have moved away from cinema and are doing other jobs. Aziz's determined attitude convinces the old crew that they can make the film. His friends know that Aziz wrote this script for Leyla at the time, and they suggest casting her in the role. Aziz vehemently refuses. His friends realize that the wounds are still fresh, and Aziz has not been able to let go of Leyla. It is clear that Aziz and Leyla are in for a difficult reckoning.