Canal

  • February 13, 2014 / 19:00
  • February 15, 2014 / 14:00

Director: Andrzej Wajda
Cast: Teresa Izewska, Tadeusz Janczar, Wienczyslaw Glinski,Tadeusz Gwiazdowski, Stanislaw Mikulski
Poland, 96’, 1957, black and white

Polish with Turkish subtitles

An unforgettably vivid depiction of the last days of the 1944 Warsaw uprising against the German Nazis, Kanal was co-awarded (with The Seventh Seal) a special jury prize at the 1957 Cannes Film Festival, establishing Wajda as a major new international film talent. His second film – and the second part of his war trilogy – features a rich mosaic of meticulously combined narratives, following a band of surviving Polish Home Army soldiers that takes to the sewers to avoid capture. Unable to allude to the fact that the Soviet Army was waiting just across the river while the Germans wiped out the non-Communist resistance, Wajda portrayed the insurgents with unaccustomed sympathy.

Canal

Canal

Ashes and Diamonds

Ashes and Diamonds

Night Train

Night Train

Mother Joan of the Angels

Mother Joan of the Angels

Innocent Sorcerers

Innocent Sorcerers

Knife in the Water

Knife in the Water

The Saragossa Manuscript

The Saragossa Manuscript

A Solitary Eagle in the Sinai Desert

A Solitary Eagle in the Sinai Desert

John Frederick Lewis is considered one of the most important British Orientalist artists of the Victorian era. Pera Museum exhibited several of Lewis’ paintings as part of the Lure of the East exhibition in 2008 organized in collaboration with Tate Britain.

Ottoman Music and Entertainment from the Perspective of Painters

Ottoman Music and Entertainment from the Perspective of Painters

When we examine the Ottoman-themed paintings of indoor everyday life by western painters, musical entertainment attracts attention as a fundamental aspect of the lifestyle.

The Search for Form

The Search for Form

A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.