Melih Çardak

In this deeply symbolic and visually lush film, as far as Tashbash is concerned, he's just a malcontent, a fairly ordinary hell-raiser who has gotten into trouble with the law in the past. Sure, he hates the village headman who is a toady to the region's oppressive landlord, and he dislikes the fact that everyone looks to the headman for help because they have no place else to turn, but he's just an ordinary guy and has no solutions for his fellow villagers. However, after one of them has a vision in which Tashbash is shown to be a manifestation of one of their more important local saints, the villagers unite as one in seeking him out for help with the upcoming visit of the landlord to collect rents which they can't pay. Their adulation and reverence is so persistent that eventually even Tashbash becomes a believer.

From print media to television, from the streets to the highways, our entire environment has become inundated with advertising. Even our homes are now ruled by advertising. We eat advertising, we drink advertising. From prize-winning chewing gum to installment plans for white goods, from lottery tickets to promotions for effective cleaning products, we are completely immersed in advertising! This irresistible phenomenon, which targets the audience defined as "media," manipulates our subconscious, and is transforming us into an increasingly consumerist society.

An idealist district governor, Selahattin Bey, adopts Yusuf, orphaned after his family was killed by thugs. Yusuf falls in love with Muazzez, the daughter of Selahattin. But when Hilmi Bey’s son Şakir also wants to marry Muazzez, a conflict escalates.

Ramazan, together with his children, migrate to the big city, Istanbul in order to give them a better life. His daughter Fidan begins working as a clerk at a shop. But she could not adapt to the life of big city. She runs away with the son of the shop owner. Ramazan searches for his daughter, but the big city already has corrupted his daughter

The film tells the story of a group of bandits captured in the Cudi Mountains 35 years ago. All of them have died, either from illness or vendettas; only Baran (Şener Şen) survives. After serving his 35-year sentence, Baran is released from Viranşehir Prison and learns that his birthplace is now submerged under the waters of a dam. Ceren Ana (Zübeyde Erden) tells him about the past. Baran is imprisoned because of the betrayal of his old friend Berfo (Kamran Usluer). Berfo stole the bandits gold, bought his childhood love Keje (Sermin Hürmeriç) from her father, and fled to Istanbul. While Baran is searching for Keje, he encounters a young man named Cumali (Uğur Yücel). These two men find solace in each other to avoid being swept away by the storms of the big city. And in this world where violence, betrayal, passion, boundless love and hatred intertwine, they try to survive.

In Trabzon, snow falls heavily like never before in the last days of autumn, and the roads are blocked. In this setting, two people who attend the same school but have never met have a chance encounter at a bus station, waiting for the same bus that has run late. They fall in love at first sight.

Revenge story in Istanbul. After being sent to prison, Şeref manages to escape and flee to the United States. Over the next twenty years, he works tirelessly and becomes a billionaire. With his vast fortune, he returns to Turkey after twenty years, driven by his longing for his homeland and his former lover. However, time has passed differently in Turkey than it has in America... Will Şeref, who returns to his country and loved ones with curiosity, be able to adapt to this change?