Director: Youssef Chahine
Cast: Youssra, Youssef Chahine , Hussein Fahmy
Egypt, France, 105’, 1989, color
Arabic with Turkish subtitles
Set in 1987 against the backdrop of a hunger strike by the Egyptian film industry, Chahine himself steps in to play Yehia, the famed Egyptian director whose life is chronicled in Alexandria, Why? and An Egyptian Story. Obsessed with Amr, the handsome actor he discovered and cast as his alter-ego in parts one and two of The Alexandria Trilogy, Yehia pressures Amr to star in various film projects that change even as Yehia's perception of the young actor begins to change. He first casts Amr as Hamlet, which the actor deems too demanding for his talents, then as the lead in a musical biopic of demigod Alexander the Great, who founded the city of Alexandria in 332 B.C. As these projects fall through, Yehia becomes fascinated by Nadia, an outspoken actress and leader of the hunger strike. As Yehia's affections shift toward Nadia, he envisions her as Cleopatra, the famous Egyptian queen. Chahine expertly mixes biography with fantasy and fiction—along with whimsical dashes of fast-motion action, animation, and several dynamic musical numbers—to create a moving tribute to Egypt, to the art of cinema, and to his own enduring career.
Organized in collaboration with the Giacometti Foundation, Paris, the exhibition explores Giacometti’s prolific life, most of which the artist led in his studio in Montparnasse, through the works of his early period as well his late work, including one unfinished piece. Devoted to Giacometti’s early works, the first part of the exhibition demonstrates the influence of Giovanni Giacometti, the father of the artist and a Swiss Post-Impressionist painter himself, on Giacometti’s output during these years and his role in his son’s development.
Among the most interesting themes in the oeuvre of Prassinos are cypresses, trees, and Turkish landscapes. The cypress woods in Üsküdar he saw every time he stepped out on the terrace of their house in İstanbul or the trees in Petits Champs must have been strong images of childhood for Prassinos.
Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.
Tuesday - Friday 11.00 - 17.00
The museum is closed on Saturdays,
Sundays and Mondays.
On Wednesdays, the students can
visit the museum free of admission.
Full ticket: 25 TL
Discounted: 10 TL
Groups: 20 TL (10 people or more)
