Orphan Flowers

Asiye is young and beautiful girl who works as a manicurist in a small beauty salon. She lives in a poor neighborhood with her family and wants to get married as soon as possible in order to get rid of her step mothers evil tongue. When she learns that she is pregnant, she immediately talks to her boyfriend and wants him to come and ask her family's approval for marriage. However, her boyfriend wants her to have an abortion and mentions clearly that he has no intention for marriage.

Kardeşlerim follows four orphaned siblings struggling to survive after losing their parents. Thrown into poverty and hardship, they rely on each other while navigating school, work and dangerous social divides in Istanbul. As they face betrayal, love and injustice, powerful enemies repeatedly threaten their fragile stability. Blending emotional family drama with romance and conflict, the series explores loyalty, sacrifice and resilience in the face of constant adversity.

Asiye, who struggles with her two young children at a young age, devotes herself to the happiness of her children despite all her deprivation, and is both a mother and a father to them, her life turns upside down with the disaster that happened to her daughter Narcissus, whom she avoids from her eyes. After that, Asiyah's path crosses with Mahir, an unfamiliar stranger who helps them, who is dragged on an irreversible journey with his children for the sake of protecting his daughter. Mahir, who helps them with humanitarian feelings and takes them to his car, is unaware yet that he will change the fate of both himself and Asiye and their children with this decision he has made. For Asiye, who took refuge in the Demirhan Mansion thanks to Mahir, this is not a salvation, but the beginning of a whole new war.

Ali, who served years in prison for his brother's murder, and Mavi, who works in a textile workshop, met each other through letters. Ali fell in love with Mavi before even seeing her. Ali and Mavi first saw each other the day Ali was released from prison. Enthralled by Mavi's beauty, Ali proposes to her. Mavi accepts the proposal, but he has one request: they will marry tomorrow in a quickie marriage ceremony without telling anyone. Accepting this proposal, Ali will face a shocking truth on the wedding day: Mavi is the brother of the man he was convicted of murdering years ago. Realizing that Mavi married him to avenge his brother, Ali is so in love with Mavi that he marries her, knowing this fact.

The film takes place in three bathrooms. Two of them are side-by-side and the third sees the two right across the street. In these 3 places, 3 different couples and a young voyeur boy (actually an art student who researches for a project) are described in stories. At the core of these stories there are determinations of the nature of men and women, marriage and betrayal.

This is an adventurous and ambitious director's story who tries to make a film in the conditions of Turkey. After the making of the film, it followed by censorship, suppression and banning... For what purpose, for what kind of reasons, for whom and why can a film be prohibited?

Onur travels from Ankara to Istanbul to attend his evening engagement party. On the way, he is overtaken by a bride driving a wedding car by herself. Onur meets the bride at a rest stop and has lunch with her. When he learns that the bride is going to Istanbul to find her fiancé, who left her at the altar, Onur finds himself in a comical adventure.

“I Beg You To Like Me”, serves as a testimony of individuals who felt oppressed about their body image for not meeting the standard beauty criteria, and demonstrates how a reckless language based on others’ physical appearance could turn violent. It aims to achieve much more than simply stating the obvious, which is that we are not obligated to submit to the ideal beauty standards dictated by the media, consumerism and the beauty industry. The intimate stories about one’s own body image as told by women, men, disabled people and LGBT individuals make it apparent that any one of us could end up being a victim and a perpetrator at the same time. What if, this iconic body image is nothing but an unobtainable fallacy? “Is it not yet the time to openly discuss the conventional perception of beauty, and step up onto the catwalk in our actual likeness?