Veşartî/Hidden

  • June 22, 2016 / 19:00
  • June 25, 2016 / 13:00

Director: Ali Kemal Çınar
Cast: Ali Kemal Çınar, Sakine Tunç, Sibel Can, Remzi Yardımcı, İhsan Şakar
Turkey, 2015 ,70’,  black & white
Kurdish with Turkish subtitles

Ali Kemal and Berfin are a couple living an ordinary life while waiting for their wedding day. After a surprise visit from an unknown woman to Ali Kemal’s shop, they find themselves awaiting a magical metamorphosis that will lead to Ali Kemal’s sex change. Bold realities of feminist issues, the role of women in traditional Turkish and Kurdish societies, and the ways in which the government deals with them surround the couple as they try to figure out if they can make this change on a personal level as well. Hidden salutes the cross dressing scene from the famous Kurdish folk tale Mem û Zîn, where Mem is dressed as a woman and Zîn as a man when they see each other for the first time.

Veşartî/Hidden

Veşartî/Hidden

The Pink Report

The Pink Report

#resistayol

#resistayol

Trailer

Veşartî/Hidden

Midnight Horror Stories:  The Moon Pool <br> Işın Beril Tetik

Midnight Horror Stories: The Moon Pool
Işın Beril Tetik

About a year ago, Ela was dead for seven minutes. Death had come to her as she was watching her younger brother play gleefully in the sandpit at the park. A sudden flash that washed her world with a burning white light, a merciless roar resembling that of a monster… 

Portrait of Martín Zapater (1797)

Portrait of Martín Zapater (1797)

Martín Zapater y Clavería, born in Zaragoza on November 12th 1747, came from a family of modest merchants and was taken in to live with a well-to-do aunt, Juana Faguás, and her daughter, Joaquina de Alduy. He studied with Goya in the Escuelas Pías school in Zaragoza from 1752 to 1757 and a friendship arose between them which was to last until the death of Zapater in 1803. 

The First Nudes

The First Nudes

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’.