The festival’s short films met the audience

Sunday, April 15

Wicked Girl, There’s No Anatolia, East Side, Arin, Museum of Broken Love, I Don’t Believe in You But Then There’s Gravity from the Program I of the section “National Short Film Competition” were screened at Pera Museum Auditorium with the participation of the director and the film crews.

The director of the film I Don’t Believe in You But Then There’s Gravity, Umut Subaşı said: “My starting point was the desire to tell the stories of people living in the same building, in architecturally similar houses, leading different lives that are actually similar. Then the idea of using gravity as a metaphor came about.”

Mizgin Müjde Arslan, the director of Arin, said that the film is based on a true story: “It happened to the parents of a Chinese friend of mine. It looks easy to say ‘where am I’ but as easy as it may be, it brings together your own history and culture. It’s a story of loss and looking for another loss after one…”

Murathan Özbek, explained that the idea of Museum of Broken Love came from a museum: “It had left a strong impression on me. Every object has a story; but you write that story yourself, it is not written down. When I was little, there were the stories written in the paper of bubble gums. I used to try to make them come true. It’s a simple act actually; giving a cup of tea to someone, hugging them, putting a sweater on their shoulder just so they won’t get cold… But when you grow up, egos get involved in it; we make the concept of love a big thing but it’s actually quite simple.”

The films from the Program II of the section “National Short Film Competition”, Hit Me Baby, Soil, The Knights’ Templer, Goat, The All Seeing Blind, The Tape were shown at Pera Museum Auditorium with the directors and the film crews.

The director of Soil, Alican Durbaş said that the story moving on the split screen was a visual and formal decision: “I wanted to show the different stages of the process simultaneously. The man is constantly digging a grave in the first part, and the other man is trying to get to the grave. In the second part, the one digging the grave begins to fill it with soil, and the one reaching the grave returns home. I tried to narrate a world of 9 pictures through this contrariety of the action.

Arda Ekşigil, the director of The Knights’ Templar, said that the film was inspired from an actual incident that happened to him: “We had to work in a very small space; we suffered during the shooting. That moment in the end happened to me in a barber shop. That’s why I wanted to put it in the end.”

Boğaç Uzun, the director of the film Goat, answered the question about the cultural background of the film: “Just like I cannot live as I wish, there are many other peoples who cannot live as they wish or speak. I thought about ‘what kind of questions can be asked for which dialogues’. What I like most about Goat is that it’s about contacting. Perhaps we will be able to resolve certain things by contacting.”

Semih Gülen, the director of Hit Me Baby said: “Even though we don’t see the knockout I think the feeling of losing is conveyed to the audience, because we also see physical violence during the henna ceremony. When it falls onto the black, another adventure begins.

Photo: Benek Özmez