Mahmut and Abidin work as comedians at a night club, Mahmut is honest yet Abidin is sly. A deaf and mute girl named Kumru is brought to work in the night club.

Hasmet, director of love stories, wants to make a film which is different than the movies he made before. This movie has a social message. He tries to find a producer but film industry is mainly out of money. When he thinks he finds one, nothing goes as it planned.

Year 2000, Samsun... Uğur takes a minibus home. When he shudders, there’s a flash-back with his daughter Berrak’s voice with song of the eighties playing on the radio. Uğur, now working as a machinist in Sivas in 1980 tells his wife Handan that he got a promotion and was assigned to Divriği which meant they had to move again. However, they got a lodging and that’s a good news. Her neighbors mention about Alawite people living in Divriği and this makes Handan worried. After they arrive to Divriği, they can’t find a place to live since the lodging was still occupied. They begin to live in the reserve railway car. Handan is in poor spirits because of their Alawite neighbors, dangers caused by the railroad and not to be able to move to the lodging. After months of waiting, they finally move but the new developments would take them to a different point in their life.

A trio of Turkish brothers immigrants find themselves torn between two lands and cultures, with roots in neither.

A film depicting the final days of the Ottoman Empire through the eyes of the heirs living in a mansion left behind by an Ottoman pasha. The pasha's grandson, his dreamer husband, his alcoholic daughter, and many unemployed and idle friends sell their last possessions and live a pleasant but melancholic life.

The life of 35-year-old Murat, who lives with his family in a neighborhood in Istanbul, is turned upside down by the death of his father. The question of whether to bury his father in Istanbul or in the village causes divisions within the family. As the father is about to be buried in a cemetery in Istanbul, the family realizes that the deceased is someone else. Murat, influenced by his cousin Hızır, begins to suspect each member of the family, and his paranoia escalates within this chaotic day. At the end of the night, Murat will be confronted with the truth that he is indeed an integral part of this family that he has always rejected.

‘Theatre is my life,’ Yıldız Kenter admits in her biography written by Dikmen Gürün. This is the story of a star, who has dedicated her whole life to her theatre company, students, the stage. Recounting the prizes received as well as the prices paid for pursuing your passion, Sweetie is a testimony to the transforming cultural landscape of the country as it tells Kenter Theatre’s story and thus how a private theatre has managed to survive. Including interviews by family members, students, fellow actors, as well as rare archival images and footage, Sweetie is an homage to the ‘North Star of Turkish theatre.’ The documentary was written by Zeynep Miraç, scored by Murat Evgin, and features Dikmen Gürün as advisor.

After being hunted by a werewolf for thirty years, Ibrahim thought he had finally found a place to hide. However, the curse found him in his new home. It was time to settle the score instead of running away. The real question is, is this reckoning really with a werewolf, or is it primarily with Ibrahim's own identity?

A left-wing journalist whose wife died while giving birth to his son during a military coup returns to his family's farm. Estranged from his father for turning his back on the family and wasting his life with political activism instead, he tries to reconnect with him so that his son will have a place to live as his health is deteriorating due to the extensive torture he had to endure.

Veteran homicide cop Fermanand his hot-headed partner İdris team up with rookie cop and anthropology major Hasan to investigate the murder of a young woman. The suspects include her conservative family, who might have killed her for honor, her drug-dealing boyfriend and aged billionaire Battal who had taken the victim as his second wife.