Yapım Tarihi - 2022
Süresi - 00:15:30
Formatı - Kurmaca, Renkli, Türkçe
Yönetmen - Furkan Nihat Tüken
Senarist - Furkan Nihat Tüken
Yapımcı - Furkan Nihat Tüken
Camera - Okan Genç
Music - Barış Ergun
Editor - Ilgın Erdem
Sound Designer - Ömer Faruk Avcı
Sound Recordist - Fatih Kara
Production Designer - Zeynep Nergiz Bozkurt
Production Assistant - Ayşe Hilal Ayhan
Colorist - Kaan Tüfekçiyaşar
Makeup - Hamiyet Arslan
Vfx - Burak Darende
English Subtitle - Zinnur Acar
Poster Design - Ömer Özçelik
Oyuncular
Ömer Güneş
İlayda Esmer
Muhammed Safi
Hamit Sağkol
Makbule Tüken
After his grandmother’s death when he was a child, a diener, who began watching
his family sleeping, is both afraid and interested in numbness and death. He
matches characters in books he has read to the dead faces he sees every day. He
begins to think that he can only purify himself through recording them. He
almost needs the dead to live. As he listens to the radio programme about
literature presented by a woman working at a library he visits, he gradually
begins to get closer to her. He is torn between the long-standing rigidity and
the charm and liveliness that he cannot resist. For the first time he gets
curious about the life of a living person, but where will this curiosity...
I was very curious when I first learned that Kafka bequeathed his writings to be
destroyed since he could have done it himself. When I first learned of Kafka's
will that his works to be destroyed, I wondered why he did it, especially since
he could have done it himself. In my point of view, Kafka's action was the first
time that an author had chosen to make a deal with the reader, maybe it was a
cry for help. However, this situation was strong enough to make me question the
place of all living things in this endless scattering of the unstoppable loss of
energy in the face of entropy. For instance, even death as a concept is almost
forgotten on its own, and to the extent that mind and life are blessed, the dead
are evaluated as being in a single cluster, and a war was joined battle with the
concept of death itself as humanity. This was undoubtedly due to how reality was
defined and our helplessness in the face of the unknown. Everything in the face
of death was just someone else's will to another. When I started writing this
script, I was thinking about the dead and the nostalgic effect they that left on
us, from the losses in my life to the books I left unfinished. It was impossible
for us to escape from nostalgia because there was evolution. Even if we empty
out all the frames in our house and put mirrors there, the moment I look at
ourselves would be the moment when we have the knowledge that the future is
already past. This was evolution, and time was almost perceived as a nostalgic
extension of evolution. For us, the only thing we felt where nostalgia was, of
course, was longing. An inevitable and incomprehensible longing for what brought
us here and what will take us from here.
Just like the God or like my mother or what those who can't fit into the world
can do to survive.
This film is fictionalized as a small meeting, perhaps a small deal, of
nostalgia and wills, between a radio host who has a strange longing for death,
and a morgue worker who is looking for more than just being among the dead. I am
also curious about all existing substances as a prime part of what they will
turn into after a while, and I see all these wills as blessings.
3. Fotofilm Kısa Film Festivali, Ulusal Kısa Film Yarışması, Kurmaca Dalı, Finalist. 2022
