Nathan the Wise

Director: Manfred Noa
Cast: Fritz Greiner, Carl de Vogt, Lia Eibenschütz
1922, 128’, Tinted & toned, DVD
Restoration: Munich Film Museum
Original Music: Aljoscha Zimmermann, Sabrina Hausmann (violin) ve Mark Pogolski (piano) 

Based on a play of the same title published by Gotthold Ephraim Lessing in 1779, this film is a fervent plea for religious tolerance. Promoted as the “Film for all humanity”, the film resolves at Jerusalem during the Crusades. Concentrating on interreligious tolerance, the film shows epic scenes and melodrama in a world where Islam, Christianity and Judaism coexist in harmony.

The film will be introduced by Stefan Drössler.

For further info about İstanbul Silent Cinema Days, please click here.

(Sur)real Colors

(Sur)real Colors

Fantasia of Color in Early Cinema

Fantasia of Color in Early Cinema

Nathan the Wise

Nathan the Wise

Different from the Others

Different from the Others

Views of Ottoman Empire Selection

Views of Ottoman Empire Selection

Charlie Chaplin Shorts

Charlie Chaplin Shorts

One Week

One Week

Hundred Year Old Films for Pera Museum's 10th Year Fantasia of Color

Hundred Year Old Films for Pera Museum's 10th Year Fantasia of Color

Mosques in the 18th and 19th Century Paintings

Mosques in the 18th and 19th Century Paintings

In the works of western painters, we encounter mosques as the primary architectural elements that reflect the identity of the city of Istanbul. Often we can recognize the depicted landscape as Istanbul simply from the mosques. 

Midnight Stories: Hotel of Retro Dreams

Midnight Stories: Hotel of Retro Dreams

Pera Museum Blog is launching a new series of “Techno- Dystopia” stories in collaboration with Turkey’s Fantasy and Science Fiction Arts Association (FABISAD). The Association’s member writers are presenting newly commissioned short stories inspired by the artworks of Katherine Behar as part of the Museum’s Data’s Entry exhibition.

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.