Sesimi Duyan Var mı? (The Last Hope: Can Anyone Hear me?)

Yapım Tarihi - 2024
Süresi - 00:07:00
Format - Kurmaca, Renkli, Türkçe

Yönetmen - Tuğçe Kayaarası

Zeynep, who moved from Samsun to Adıyaman due to her husband's transfer, lost her home and family in the February 6 earthquake. Zeynep was newly pregnant during the February 6 earthquake and has to live to give birth to her baby, a souvenir from her husband that keeps her alive and connects her to life. After this incident, Zeynep started working at a hotel in a small coastal town on the Black Sea. The owner of the hotel, Mr. Mustafa, took her in and gave her a small house and a job for her to stay in. A few months pass. It's almost time for Zeynep's birth. Zeynep continues to survive for her baby. Years pass after Duru is born. Duru's school time is approaching. Zeynep tries to make a living by doing several jobs at the same time. However, she cannot afford to buy books, notebooks and uniforms for Duru. What she earns is not even enough to live on. Zeynep is desperate and tries to find a way out.

5. Fotofilm Kısa Film Festivali, Kısa Film Yarışması, Yarışma Filmi. 2024



Kaynak
Fotofilm Kısa Film Festivali










Director Statement

First of all, it was a job that was shot with great effort for two months, working day and night in the preparation, shooting and post-production stages, and that I worked very fondly on. The theme of our movie is hope. I tried to explain from my own perspective the struggle for life and survival of a woman who lost her husband and child in the February 6 earthquake, the emotional trauma she experienced and her struggle to survive for her baby, and the troubles and sadness she experienced. In this project, it is aimed to increase society's sensitivity to the survival struggle of women on the threshold of life, and to make visible the position of our women in society, their successes, and the difficulties and troubles they experience. The shooting locations, costumes, accessories and visual aesthetic structure of the film were determined by thorough research and careful selection during the preliminary preparation process.

I tried to be extremely natural and original in the shooting techniques in the film. tried to choose natural and real places, costumes and costume colors appropriate to the spirit of the places, and accessories in line with the structure of the places. In actor management, I allowed the actor to freely interpret his own character, again from a natural, realistic perspective. I took the actor to the locations before the shooting so that he could identify with his character. In this way, I enabled him to both focus on the character easily and internalize it. In the cinematography management, I tried to reflect the mood and psychology of the character by using natural light and partial lighting in the interiors. I tried to establish a holistic perspective in terms of technique and content by making use of natural light, that is, daylight, in outdoor spaces. I strengthened the spatial fiction by using archive images about the earthquake. I tried to emphasize the traumatic situation of the character through editing, narrative style, shooting techniques and the aesthetic structure of the film. The trauma in the character's inner world, emotional conflict and the troubles, difficulties, pains she has experienced, getting up early in the morning and working until the evening despite her pregnant belly, the helpless situation she is in, and her struggle to survive for her baby that connects her to life, are seen both from the perspective of an objective outsider and from the director's perspective. I tried to interpret.

In the visual structure of the film, I preferred cold colors before Duru was born, and warm colors after Duru was born. While Zeynep was more introverted before Duru was born, we can say that after Duru was born, Zeynep recovered more psychologically and became more extroverted. Zeynep confronts her past in the scene where she writes in her diary. Even though life is difficult, it must continue for him. But the pain is always inside. Here we move on to flashback scenes and go into Zeynep's inner world between dream and reality. Through his eyes, we see houses leaning sideways, a mosque, a doll, the inside of a collapsed house, and the work of a construction machine removing debris during the February 6 earthquake. In these scenes, a new space fiction was created with the use of an ebb and flow, depressive and traumatic, psychological, poetic narrative language and color, especially depending on the character's mood. Here, Zeynep confronts her inner world and questions her past. 9 years pass. I emphasized the passage of time with the image of the cliffs. Rocks symbolize long time, years and difficulties. The rocks also symbolize Zeynep's struggle for life on the edge of life and the sea.

Duru was born, grew up and went to primary school. After Duru is born and grows up, Zeynep tries to find a way to send him to school. What they earn is barely enough to pay for food. He cannot afford to buy notebooks, books and a school uniform for Duru. Even the money he earns by doing extra work is not enough to make ends meet. This difficult situation that Zeynep is in is explained from a natural and realistic perspective in terms of technique and content. After Duru is born, we see him for the first time in the seaside scene. Here, Duru shows her mother the seashells she collected by the sea. Zeynep takes the seashell and puts it to her ear and hears the voices of her daughter who died in the earthquake... In this scene, we see Zeynep's inner pain and longing for her daughter by establishing a metaphorical, imaginary and poetic narrative. He gave the name of his daughter, who died in the earthquake, to his daughter, who is now alive. The seaside and seashells are metaphorical and symbolic symbols of hope, eternity and depth. In the scene where Zeynep puts the seashell to her ear, we see her confronting the pain she experienced in the past and her emotional fluctuations with the voices coming from her daughter who died in the earthquake. Desperation and impasse pushes the character to find a way out and a solution in his inner world. We see how strong Zeynep's spiritual side is in this scene. After this scene, Mustafa, the owner of the hotel, comes to the place where Zeynep sets up a stall and sells her handicrafts and products. He gifts Duru a school bag, school notebook, books and a uniform. Mustafa, who overheard what Zeynep said while she was having trouble with her neighbor in the previous scenes, wanted to make a surprise. Zeynep and Duru were very happy. Mustafa, who noticed the situation Zeynep was in and wanted to help her even a little, acted possessively and protectively towards Zeynep, who had been working with him for years.

In the final scenes, Zeynep combs Duru's hair and prepares her for school. In the last scene, Duru comes running with the report card in his hand. Zeynep also hugs her daughter. Zeynep looks at Duru's report card and all his grades are very good. Mother and daughter hug and leave the frame. In the final part of the film, the warm and intimate relationship between mother and daughter is depicted from a natural, realistic and dramatic perspective. The music of the film has a supporting and empowering aspect to the narrative and reveals the emotional and dramatic side of the film.