Whole New World

June 24 - July 15, 2021

Pera Film celebrates Pride Week with an online movie program. Titled Whole New World, after the famous song by SOPHIE, the trans musician who passed away in early 2021, the program will feature four movies that depict the lives of queer characters who are trying to create a whole new world at work, at home, in the streets, and everywhere they are.

Taking place between June 24 and July 15, Whole New World will feature Knives and Skin, a neo-feminist thriller where director Jennifer Reeder creates a mysterious world, accentuated by pop-song choirs, reinterpreting genre elements taken from magical realism, musical, absurd comedy and film noir; No Hard Feelings, a moving story that focuses on exploring the past and creating the future as a queer immigrant in Europe; One in a Thousand, a movie where the protagonists are caught between coming out and cyberbullying, community life and poverty, and love and violence, capturing the transition between the tenderness of childhood and the bitter reality of the adult world in a documentary feel; and finally Tracing Utopia, a documentary on where a group of teenagers discuss their ideas of a queer utopia, building online safe spaces within a popular video game and creating a manifesto for a more equal and just world where everyone can be their true self.

The program will be streamed at film.peramuzesi.org.tr between June 24 and July 15, and only be accessible to online audiences in Turkey. As per legal regulations, all our screenings are restricted to persons over 18 years of age, unless stated otherwise.

Knives and Skin

Knives and Skin

No Hard Feelings

No Hard Feelings

One In A Thousand

One In A Thousand

Tracing Utopia

Tracing Utopia

Program Trailer

Whole New World

Pera Film celebrates Pride Week with an online movie program. Titled Whole New World, after the famous song by SOPHIE, the trans musician who passed away in early 2021, the program will feature four movies that depict the lives of queer characters who are trying to create a whole new world at work, at home, in the streets, and everywhere they are.

Masterclass with Eva Stefani <br> Documentary: The Observation Game

Masterclass with Eva Stefani
Documentary: The Observation Game

Eva Stefani, the renowned figure of the Greek avant-garde, conducts a masterclass discussing the documentary’s position in cinema as an independent artistic creation.

Greek Cinema is Self-Introducing

Greek Cinema is Self-Introducing

Four panelists, Ms. Athena Kalkopoulou, Ms. Antigoni Rota, and Ms. Afroditi Nikolaidoupresent to the participants a clear picture on today’s state of filmmaking in Greece, the industry’s structure, the national policies undertaken to boost and enable film production, to challenge the market demands etc.

Greek Cinema is Self-Introducing

Greek Cinema is Self-Introducing

Four panelists, Ms. Athena Kalkopoulou, Ms. Antigoni Rota, and Ms. Afroditi Nikolaidoupresent to the participants a clear picture on today’s state of filmmaking in Greece, the industry’s structure, the national policies undertaken to boost and enable film production, to challenge the market demands etc.

Female Attires from the Perspective of Painters

Female Attires from the Perspective of Painters

Due to its existence behind closed doors, the lifestyle and attires of the women in the Harem have been one of the most fascinating topics for western painters and art enthusiasts alike.

The Ottoman Way of Serving Coffee

The Ottoman Way of Serving Coffee

Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.

A Photographer’s Biography Pascal Sebah

A Photographer’s Biography Pascal Sebah

Following the opening of his studio, “El Chark Societe Photographic,” on Beyoğlu’s Postacılar Caddesi in 1857, the Levantine-descent Pascal Sébah moves to yet another studio next to the Russian Embassy in 1860 with a Frenchman named A. Laroche, who, apart from having worked in Paris previously, is also quite familiar with photographic techniques.