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YEMEK the Movie in Turkey

Cinema, a captivating tapestry of moving pictures, is often regarded as the legacy left behind by time travelers. Within this realm, actors and actresses breathe life into spirits that might otherwise be lost to the annals of time. While the film industry crafts narratives that may not transcend simple myths, certain cinematic gems etch themselves into our collective memory through compelling plots, innovative storytelling, and masterful cinematography.


One such cinematic masterpiece is “Yemek Türkiye” (Dining Turkey), a collaborative creation by FabUK Production and 24 Kare Yapım in Turkey. Helmed by nine directors across nine cities, under the overarching guidance of Ali Kaygısız, the film intricately weaves disparate stories around a central theme.

At the heart of this cinematic journey is the universal binding force of food. Beyond being a mere sustenance, food emerges as the focal point that unites people from diverse backgrounds. No matter where disputes originate, they find resolution at the communal dinner table. While meals may be an amalgamation of various ingredients, what truly converges are the myriad human stories. Each dish becomes a reflection of distinct emotional states, mirroring the nuanced similarities between humans and the art of gastronomy.

Actor Erdal Erbaş as Horace Walpole

Ebru Cengiz Ergen, a Turkish screenwriter, artfully resurrects the essence of the English writer, art historian, and politician Horace Walpole on the silver screen. In “Yemek Türkiye,” Walpole endeavors to concoct a flavor destined to linger across generations—a poignant tribute to the memory of his mother, a force he deems as the “most powerful emotion” in his entire life. As time unfolds in parallel, two souls, driven by a shared ambition and having weathered their fair share of trials, eventually find their paths intersecting in the intricate tapestry of time.

Enter Rüya, the contestant who, having faced humiliation as the last-place finisher in Turkey’s most-watched cooking competition, seeks redemption by crafting a new culinary masterpiece. At Strawberry Hill, the convergence point of Horace and Rüya, the Englishman listens intently to Rüya’s tales, seeking the missing element to complete his culinary passion. Rüya, in turn, narrates a rich tapestry of dishes from Turkey, the world’s gastronomic capital, infused with a perspective that harmonizes human psychology and drama.

In “Yemek Türkiye,” the enchanting allure of English history seamlessly merges with the picturesque beauty of Turkey’s cities, creating a cinematic symphony that transcends borders and cultures, leaving an indelible mark on the canvas of storytelling.


By: Sarah

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THE STRIKE | World Premiere at HotDocs April 28th

Amidst the redwood trees on the California-Oregon border sits one of the most infamous prisons in US history. Pelican Bay is a labyrinthine construction of solid cement blocks – a supermax prison – opened in 1989 and designed specifically for mass-scale solitary confinement. For decades, it held mostly Black and Brown men alone in tiny cells for indefinite periods based on questionable evidence. Then one day in 2013, 30,000 prisoners went on hunger strike.

THE STRIKE weaves together, thread-by-thread, a half century of personal and criminal justice history into a single, compelling narrative around the drama of the 2013 hunger strike to end indefinite isolation. Grounded in testimonies from the hunger strikers themselves, the film details how the protest was conceived from a whisper inside the halls of Pelican Bay to a colossal feat across California prisons. With unprecedented access to state prison officials and never-before-seen footage from inside Pelican Bay, THE STRIKE reveals the panic that gripped the highest echelons of state government.

Told through the stories of the men who bore the brunt of this practice, THE STRIKE goes beyond making a case against solitary confinement; it illuminates the power of organizing and prisoner-led resistance, and in doing so, flips the true-crime genre on its head.

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Japanese director Naomi Kawase to preside over international competition Jury at Cairo International Film Festival

Japanese Director Naomi Kawase To Preside Over International Competition Jury At Cairo International Film Festival

Japanese director Naomi Kawase will lead the International Competition Jury of the 44th Cairo International Film Festival (CIFF), which will run from 13 to 22 November this year.

Festival president Hussein Fahmy, welcomed the participation of Kawase’s, confirming her role to lead the international competition jury as a valued addition to the activities of the coming edition. Fahmy added that Kawase has a distinguished career and possesses great experience that qualified her to obtain prestigious awards from various international festivals.

Festival director Amir Ramses asserted that the presence of a cinematic talent as Naomi Kawase, as head of the international competition jury is a continuation of the successful tradition established by CIFF over the years to invite the world’s leading filmmakers to this position. Ramses also added that the presence of an award winning female director with such a successful career and rich filmography is great inspiration to female filmmakers in Egypt.

The prominent Japanese director and writer gained worldwide fame after achieving many honorable successes during her career that began in the late 1980s.

Born and raised in Nara, Japan, Naomi Kawase continues to make her films there today. Her pursuit to capture “reality” through film beyond simplistic documentary-fiction dichotomies has received worldwide acclaim.

She is considered the youngest person to win the Caméra d’Or (for best debut feature film) at the Cannes Film Festival, for Moe no Suzaku (1997). She also won three awards from the prestigious french festival for her films Mogari no Mori (2007) and Hikari (2017). She also received the Carrosse d’or from the Directors’ Fortnight (2009)

In 2000, her film Hotaru won both the FIPRESCI award and was nominated for the Golden Lion at the Locarno Film Festival. Meanwhile, her 2006 film, Tarachime, received a special mention at the same festival.

She is also a director of commercials, radio program DJ, essayist, and pursuer of various expressive activities including calligraphy and installations.

As executive director of the Nara International Film Festival, which she launched in 2010, she focuses on nurturing the next generation of visionaries and has produced nine films in this pursuit.

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The Festival de Cannes demands the immediate release of filmmakers Mohammad Rasoulof, Mostafa Aleahmad and Jafar Panahi

The Festival De Cannes Demands The Immediate Release Of Filmmakers Mohammad Rasoulof, Mostafa Aleahmad And Jafar Panahi

On Friday, July 8, 2022, Iranian filmmakers Mohammad Rasoulof and Mostafa Aleahmad were arrested and imprisoned at an unknown location for protesting against violence against civilians in Iran. Mohammad Rasoulof had already been deprived of his freedom of movement and work since 2017, following the screening of his film A Man of Integrity, which won the Un Certain Regard Award at the 70th edition of the Festival de Cannes. His films Manuscripts Don’t Burn, which won the Fipresci Prize in 2013 and Goodbye, which won the Best Director Prize at Un Certain Regard in 2011, had also been screened in Cannes. He had subsequently won the Golden Bear at the Berlin Festival in 2020 with There is No Evil.
Today, on Monday, July 11, Iranian filmmaker Jafar Panahi was also arrested in Tehran. The director presented numerous works at Cannes, including Three Faces, which was selected in Competition in 2018 and awarded the Prize for Best Screenplay, as well as Crimson Gold, which won the Jury Prize at Un Certain Regard in 2003. Jafar Panahi also won the Golden Bear at the Berlinale in 2015 for his film Taxi.

The Festival de Cannes strongly condemns these arrests as well as the wave of repression obviously in progress in Iran against its artists. The Festival calls for the immediate release of Mohammad Rasoulof, Mostafa Aleahmad and Jafar Panahi.
The Festival de Cannes also wishes to reassert its support to all those who, throughout the world, are subjected to violence and repression. The Festival remains and will always remain a haven for artists from all over the world and it will relentlessly be at their service in order to convey their voices loud and clear, in the defense of freedom of creation and freedom of speech.

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