Talk
November 24, 2019 / 16:45
Pera Film presents a retrospective selection of the films of Tomer Heymann, a documentary producer and director whose films focus exclusively on the human in their search for truth. The program Chosen Families: Tomer Heymann focuses on the director’s six documentary films that explore with an honest and sensitive perspective the concept of family, the ones we are born in and the ones we choose, and the feelings that arise from being together.
The screening to be held at 24 November will be followed by a talk with Tomer Heymann, moderated by film critic Nil Kural.
The talk will be in English with simultaneous Turkish translation. Free admissions. Limited space, drop in, no reservations.
About Tommer Heymann
Tomer Heymann was born in Kfar Yedidia in Israel in 1970 and has directed many documentary films and series in the past twenty years. His films have been theatrically released around the world, won major awards at different prestigious film festivals including his first film It Kinda Scares Me, making him one of Israel’s most prominent documentary film directors. Tomer Heymann teaches at several film schools in Israel and is currently engaged in several ongoing projects.
About Nil Kural
Nil Kural is Turkish film critic and editor. She lives in Istanbul and writes for Milliyet Daily Newspaper and is the film editor of Milliyet Sanat Art Magazine for the 11 years. She has been a FIPRESCI jury member in festivals including Vienna, Karlovy Vary, Venice and Locarno. She also works as an advisor for İstanbul Film Festival.
The Suna and İnan Kıraç Foundation’s Orientalist Painting Collection includes two children’s portraits that are often featured in exhibitions on the second floor of the Pera Museum. These portraits both date back to the early 20th century, and were made four years apart. One depicts Prince Abdürrahim Efendi, son of Sultan Abdulhamid II, while the figure portrayed on the other is Nazlı, the daughter of Osman Hamdi Bey.
Józef Brandt harboured a fascination for the history of 17th century Poland, and his favourite themes included ballistic scenes and genre scenes before and after the battle proper –all and sundry marches, returns, supply trains, billets and encampments, patrols, and similar motifs illustrating the drudgery of warfare outside of its culminating moments.
In 1962 Philip Corner, one of the most prominent members of the Fluxus movement, caused a great commotion in serious music circles when during a performance entitled Piano Activities he climbed up onto a grand piano and began to kick it while other members of the group attacked it with saws, hammers and all kinds of other implements.
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