Billur Kalkavan

Gurbuz, a crook in Istanbul's Balat district attempts to defraud a mob leader nicknamed Yellow Kenan and his men and gets killed. But he’s going to be resurrected like Frankenstein, one of the most popular horror figures in horror movies.

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Kahraman is a naive and right-minded guy. In a lovely Anatolian town, he earns a living as an attendant in a Turkish bath inherited from his great grandfathers. One day, a wealthy constructor named Tuncay wants to demolish the bath and the marketplace it is located in, and build a mall in their place. Barber Cemil, Kahraman's enemy, convinces the craftsmen in the marketplace and collaborates with Tuncay to start the demolishment immediately. Kahraman does not want the marketplace he was born into to be demolished and he does not believe in the empty promises of Tuncay.

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Yağmur is a young woman with very strict boundaries. She lives in Istanbul and works as a fashion editor. Yağmur doesn't accept the fact that her brother Bulut is gay. Bulut, wishing to be a play writer someday created himself a world in his home where he can play Andy Warhol. And he named it Factory. Life is a struggle for these two high-class children. While Yağmur is fighting against her boyfriend's marriage expectations, Bulut is trying to fall in step with his boyfriend's life. While these two different relationships have their own battles trying to survive in some way, a death will change everything.

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İlkay and Selçuk are an unhappy married couple. While traveling to the Turkish Riviera for a short vacation, they encounter a hitchhiker.

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Mavi Sürgün is a fictionalized account of one period of the life of a Turkish journalist who was condemned to exile for an article he wrote in 1925. He turned his punishment into a reward by creating a little paradise in what is today the holiday resort, Bodrum. In fact he is considered by some to be the first ecologist. The film concentrates on this latter aspect of his character and through flashbacks portrays the inner turmoil of a man who is trying to come to terms with his past. The slow pace is somewhat of a drawback, the flashbacks are often confusing and the protagonist is not always very convincing. But the photography of the country side is exceptional Kenan Ormanlar and the short appearance by a very theatrical Hanna Schygulla of Fassbinder fame adds a little spice to the drama.

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A portrait of a young, depressed Turkish widow in the slums whose infinite dignity alone looks after her orphan kids is depicted by the son of the town sheriff, who is in love with her.

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