As every year, the celebration of All Saints Day brings Polish families together at the graves of their loved ones. On this special day Maria, 80-year-old widow, visits the graveyard with her son, his wife and their children.

Süresi

Türler

Orijinal Adı

Uyarılar

Wszyscy swieci

Ediz Hun

Sezer Güvenirgil

Hayati Hamzaoglu

Aliye Rona

Enver Dönmez

Suphi Tekniker

Meltem Mete

Süheyl Egriboz

Hüseyin Zan

Hüseyin Güler

Ahmet'in kardeşi Nazlı, tecavüze uğradıktan sonra hayatını sonlandırır. Onun intikamını almak isteyen Ahmet, yaşadıklarını tecavüzcüye yaşatmak için yollara düşer fakat hiç beklenmedik bir şekilde âşık olur.


Kanlı Aşk

Breitensee begins as an observation of the working hours of soldiers on night duty in the barracks and it ends as an obituary on the ecstasy of the after hours in a famous club in Berlin in intense red light. A discontinuous formal structure, employing the means of documentary cinema, experimental cinema and classical narrative, is used to explore the imaginary of youth trapped between its desire for money and its desire for love. Unable to resolve the paradox at the very heart of their lives, the characters are drawn towards drugs, prostitution and small time crime. However, beyond the level of narration, Breitensee constantly reflects on the aesthetic possibilities of cinema itself, departing from the ground zero of cinematic truth: an exploration of the production of identities and the indifference between fiction and reality. Once set into belief the fictional characters are used to obtain different perspectives on the reoccurring matrix of (capitalist) exchange. Towards the end the movie develops a visual analogy to minimal music: a sketch of the city of Berlin inspired by the late Einstürzende Neubauten.

Breitensee