Yapım Tarihi - 2024
Süre - 00:11:42
Format - Deneysel, Renkli, Türkçe
Yönetmen / Director - Özge Can
Senarist / Writer - Özge Can
Yapımcı / Producer - Nilüfer Neslihan Arslan, Özge Can
Görüntü Yönetmeni / Director of Photography - Arman Han
Co-producer - Seda Portakal, Can Türe
Ses / Sound - Seda Portakal
Music - Emre Özdemir
Sound Mix - Aykut Özen
Ana Karakterler / Key Cast - Defne Halman, Neslihan Çakıner
Terzi dükkânında yaşlanan Ferhunde, teselliyi başkalarının masallarında bulur.
Paltosuyla ilgili gerçeği keşfettiğinde, gerçeklik ve illüzyon iç içe geçer.
Şimdi, evden ayrılmanın güvenli olup olmadığına karar vermelidir.
In a tailor's shop, aging Ferhunde finds solace in others' tales. Upon
discovering the truth about her coat, reality and illusion intertwine. Now, she
must decide whether it's safe to leave home or not.
“Every child lives the same thing sooner or later. There comes a time when home
is not ‘home’ anymore. It is no longer an exterior to be discovered like in
early childhood nor it is a refuge from the outside” When I stumbled upon the
words of Nurdan Gürbilek in her book titled “Ev Ödevi”, I realized a resonance
with my own perception of “home”, so I felt compelled to visualize this feeling.
The story is based on an image that came to my mind: two bodies trying to fit
into the same coat, a mixture of young and old body parts. Although it was a
metaphor for the inner struggle, the image itself was so powerful for me that I
wanted to create this scene literally. I started picturing a middle-aged woman
in her gloomy flat who imagines herself on the streets and wants to set herself
free but always finds excuses to stay in her safe zone. Slowly all these began
to shape the character, Ferhunde, a woman, avoiding social and physical contact
with other people and feeling uncomfortable to touch even her own body. Her
interactions are minimal, confined to customers in the tailor shop, and her
understanding of the external world is restricted to observations of others. The
only way to experience life is through her notebook, her imagination. My main
motivation was to create a story about a woman’s connection to her body, her
inner world and to portray her struggle with daily routines, gender roles and
her sexuality. While writing, I got my inspiration from the women in my family.
Mostly they were taught how to sew and cook, they were molded into roles of
homemakers from a young age, and they tend to care too much about how they are
perceived by other people but not about their own desires. Therefore, through my
character, I aimed to explore the question: Does one ever truly find comfort
within their own skin? Without her coat that keeps her safe, who is Ferhunde
really? Has she always been hiding behind the curtains, waiting to go outside
some day? Can she become the lady wandering freely on the streets in her nice
dress? Maybe it is never about the clothes that we put on but about peeling off
the layers to reveal who we really are. This is a story about “identity” and “transformation”.
But this is also a story about being a mere spectator, waiting for the right
time to act, waiting to become... And I want the audience to feel Ferhunde’s
conflict while she tries to decide whether she should fear the unknown or
welcome it. Maybe the desire to remain within the safety of the familiar is more
dangerous than to be outside and experience the unknown.
