Ahu Ozturk

Dati tecnici

Language: 
turco
Subtitles: 
italiano
Colour: 

Credits principali

Production company: 
Cigdem Mater, Nesra Gurbuz, Stefan Gieren
Distributed: 
No

Cast e credits

Story: 
Ahu Ozturk
Screenplay: 
Ahu Ozturk
Film editing: 
Ayhan Ergursel
Music: 
Mustafa Molukbasi
Cinematography: 
Meryem Yavuz

Dust cloth

International title: 
Toz Bezi
Anno: 
Genre: 
Length: 
99min
Country: 
Turchia
Year of production: 
2 015
Nesrin and Hatun are two Kurdish cleaning women, who live in Istanbul. Their life is an endless back and forth between their homes in the shanty town and the classy neighborhoods, where they go to clean. They live in the same building, and their friendship has a hierarchy; Hatun is like the older sister. Nesrin lives on the ground floor with her daughter Asmin 5yo. Her husband has recently disappeared, and even if he was quite useless and Nesrin does not love him, her life is harder now. She is getting desperate and she looks for her husband everyday. Hatun lives with her husband Şero, and her not-too-promising son Oktay. She is naturally funny, clean, handy, and indiscreet. Her biggest dream is to buy a house in the neighborhood where she goes to work. She is obsessed with saving money and visits real-estate agencies all the time, ignoring the fact that this dream is more than impossible for her. As well, she has always wanted a daughter.

Focus on

Parlaci dell’opera che presenti al Napoli Film Festival: 
It was one of the clearest memories from my childhood. We came to Istanbul to visit our relatives. First stop was my aunt. Then my mum shared a secret with me when we came back. The secret was the fact that my aunt was a cleaning woman and I should not tell this to anyone. Two years ago, when a relative of mine who works as a cleaning woman came to visit us and said that she is a Circassian, I was shocked. This is the same woman that I knew her mother had died without knowing any language other than Kurdish. This helped me understand that Kurdish identity can be experienced very differently in Turkey and the point that we can touch reality is hidden in this heterogeneity. I thought a lot about my urge to tell this story of my aunt. First, I looked for answers in the cultural, political, and ethical eras. After all these, what I reached was shame. It was not the shame that I felt about these women of my family, it was the shame of feeling this shame. So I decided to write the story, knowing that it is the only way of recovering.

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