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The life of 35-year-old Murat, who lives with his family in a neighborhood in Istanbul, is turned upside down by the death of his father. The question of whether to bury his father in Istanbul or in the village causes divisions within the family. As the father is about to be buried in a cemetery in Istanbul, the family realizes that the deceased is someone else. Murat, influenced by his cousin Hızır, begins to suspect each member of the family, and his paranoia escalates within this chaotic day. At the end of the night, Murat will be confronted with the truth that he is indeed an integral part of this family that he has always rejected.
Filiz, a young, working mother, struggles with postpartum depression. Seeking moments of escape, she sets out to buy ‘a car of her own.’ Along the way, Filiz meets Şule, and her search for a car turns into an unexpected bond, offering both women a chance at solidarity.
Turkish film industry has been experiencing a breakthrough in the last ten years. According to 2015 figures, there is a bold uptrend in terms of viewers and film production. Yet without any regulations at work, this growth only made injustices in distribution bigger. While a single cinema chain controls more then 50% of the market, it also started to control distribution and production. In this monopolized environment, there seems to be no country for independent production. With the guidance of producers, distributors, and economists, the film traces the distortion created by the bad economy that has become an obstacle for freedom of choice.
