History of Turkish theatre

An elderly couple invite their adult children to visit their country chateau. Among the children are Omer, his undemonstrative wife who knows about Omer's mistress, and Omer's children. The other son brings his seductive lover, and the daughter, a divorcee, brings her child. Mayhem ensues when their daughter's ex-husband makes a surprise appearance at the house.

In this deeply symbolic and visually lush film, as far as Tashbash is concerned, he's just a malcontent, a fairly ordinary hell-raiser who has gotten into trouble with the law in the past. Sure, he hates the village headman who is a toady to the region's oppressive landlord, and he dislikes the fact that everyone looks to the headman for help because they have no place else to turn, but he's just an ordinary guy and has no solutions for his fellow villagers. However, after one of them has a vision in which Tashbash is shown to be a manifestation of one of their more important local saints, the villagers unite as one in seeking him out for help with the upcoming visit of the landlord to collect rents which they can't pay. Their adulation and reverence is so persistent that eventually even Tashbash becomes a believer.

In 1976, Suha Arin was a tutor at the faculty of Social Sciences of Ankara University at the Press and Publishing Department (today's Communication Faculty). Like many of his films, the documentary "Safranbolu: Reflections of Time" was filmed with the help of a group of enthusiastic students. Safranbolu presents some of the few surviving examples of striking traditional Turkish architecture. The beauty of houses as well as the negative impacts of the passage of time are reflected in the documentary "Safranbolu: Reflections of Time" one of the aims of the film was to raise public awareness of the need for protection for culture and nature.