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Bloc C
(C Blok), by Zeki Demirkubuz, 1994, RT: 90 minutes, Color, Turkey, 35mm.
Tulay, a woman whose marriage is slowly disintegrating grows restless. She decides to come to terms with many of her traumas. Halit, a resident of her apartment complex watches her incessantly. A number of enigmatic encounters between Tulay, her maid Ash, and Halit blur the lines between fantasy and reality and heighten the sense of uncertainty. More
Confession
(Itiraf), by Zeki Demirkubuz, 2001, RT: 100 minutes, Color, Turkey, 35mm.
Harun, a rich and successful engineer, finds out that his wife Nilgtin is having an affair. Scared of losing her, and in disbelief, he does not confront her. Time begins to pass very slowly and painfully. When the situation becomes unbearable, he initiates an all-night inquisition. The husband and wife, married for seven years, cannot recognize one another as they delve in the darkness of their souls. Harun is in for a surprise. Screened in the 2002 edition of the Cannes Film Festival at the official selection’s ‘Un Certain Regard’. More
Destiny
(Kader), by Zeki Demirkubuz, 2006, RT: 103 minutes, Color, Turkey, 35mm.
Presented as the prequel to Masumiyet, with Kader Demirkubuz resurrects the characters and drama of the feature film that earned him international recognition. Bekir is mad for Ugur. Ugur is enamored with Zagor and Zagor is can’t help committing crimes. Zagor is released from jail. On a sultry summer night, one mishap follows another and a murder is committed in the neighborhood. That same night, Ugur vanishes.
Although foreboding of the dark and cruel days awaiting Ugur's young and pretty mother, his paralyzed father and his little brother who have lived under the wing of an affluent young man named Cevat until then, this homicide becomes the hope for deliverance from his mad love for Bekir. He marries the girl his family has picked for him and sets forth for a new life. Some months later Zagor is jailed for killing two policemen, and Ugur returns to Istanbul. Bekir is, again, hopeful. A deadly chase of merciless loves begins, Ugur trails behind Zagor and Bekir follows his beloved Ugur across nightspots, cheap hotel rooms and dope bashes, town after town, for years. Hearths and homes are destroyed, children were orphaned, but innocence never lost. More
Fate
(Yazgi), by Zeki Demirkubuz, 2001, RT: 119 minutes, Color, Turkey, 35mm.
Musa is a middle-aged man who has largely given up on the idea of free will resigned to living without a sense of direction and designed course. As fate would have it, that course includes death, marriage and imprisonment for a crime he did not commit. Take the Camus’s “ennui”, the Bresson’s soul and the unwavering gaze of Kiarostami and you might get something like Zeki Demirkubuz's Fate. Screened in the 2001 edition of the Cannes Film Festival at the official selection’s ‘Un Certain Regard’. More
Innocence
Innocence (Masumiyet), by Zeki Demirkubuz, 1997, RT: 105 minutes, Color, Turkey, 35mm.
Yusuf is released from prison after serving a ten-year sentence. Fearful of the world outside, all he has is an address given to him by a fellow prisoner. After unexpected problems at his sister’s house, he finds himself in a cheap hotel in Izmir where he meets a woman, a man, and a child who will complicate his life in unexpected ways. Yusuf, trying to survive in this unknown city, finds himself entangled in an extraordinary love triangle. More
The Third Page
(Üçüncü Sayfa), by Zeki Demirkubuz, 1999, RT: 92 minutes, Color, Turkey/Italy/France, 35mm.
Isa, a walk-on in movie productions, is blamed for a fifty-dollar robbery in a world ruled by mafias. He is badly beaten and given twenty-four hours to return the money. The next day, instead of finding the money, Isa finds a gun. He decides to write a note and commit suicide. Just when he is about to pull the trigger, the doorbell rings. More
The Waiting Room
(Bekleme Odasi), by Zeki Demirkubuz, 2004, RT: 94 minutes, Color, Turkey, 35mm.
The concluding film in the filmmaker’s Tales About Darkness trilogy that includes the previous two features. It tells the story of Ahmet, a widely esteemed film director but who nonetheless feels worthless and struggles to wrap up his adaptation of Dostoievsky’s Crime and Punishment. The prospect of work fills him with torpor and he is indifferent in his relationship with his girlfriend. He’s momentarily moved when he toys with the notion of casting a burglar he caught breaking into his place as the a that asks whether a man ruled by egotism and arrogance can deliberately choose positive values such as spirituality and solitude. Can the exalted status that used to be granted only to heroes, as reward for their suffering, be taken on by the selfish, morally troubled anti-hero of today? More
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