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    Directed by



    93 min

    • Turkish


    As seasonal forest workers, brothers Kemal and Cemal struggle with an uncertain future, living in a house on the outskirts of a village in the West Black Sea Region. One day, Kemal arrives home with Nalân. Although her presence soothes Cemal, who feels shaken by his mother’s death, it deepens a growing rift between the brothers. Cemal feels uneasy about his brother concealing their mother’s death to withdraw her salary from the bank. Their differences mount as he tries to deter him. Nalân gets disappointed with Kemal’s increasingly erratic behavior. She opens herself up to Cemal’s compassionate world. After Nalân’s departure, the brothers carry on living like two strangers. Cemal secretly sees Nalân. Afraid of losing his brother, Kemal one day follows him to the town’s cheap hotel. As he confesses his fears of their possible separation, Nalân appears with a suitcase in her hand.



    Muhammet Uzuner
    Defne Halman
    Şükrü Babacan
    Tunç Davut
    İlker Berke
    Mesut Ulutaş
    Ömer Günüvar
    Tunç Davut

    Director's Statement

    The modern human, alienated under social and economic pressure, is shut inside his finite existence, and is suffering from the “Sickness of Despair”, looking for his happiness within this finitude. Entanglement is of two brothers, seasonal forest workers in the rural Black Sea Region and an indigent woman who are suffering from the sickness of despair. Questioning their despair, who’ve become alienated from nature and themselves, whose relationships have gotten tangled up, and who’ve given in to their destinies, constitutes the intellectual and emotional focus of this work.

    ENTANGLEMENT feeds off of the myth of Cain and Able, a narrative dating back to the origins of humanity. The myth includes the themes of Brotherhood, Envy and Remorse which have never lost their currency in any age, and have been studied in different manners in various classical and modern narratives.

    In ENTANGLEMENT, I’ve set up the story by putting the emotional conflicts of the characters in the course of daily events in the foreground. I’ve embraced a method of narrative that emphasizes a particular realism where the logic of cause and effect is broken. I’d like to present a few clues on the development of my characters. For Kemal, in despair at not being conscious of having a self, the future is uncertain; there is no concrete dream of tomorrow; all he can think of is how to save the day. The one trying to escape from her troublesome past, in despair at not willing to be herself is Nalân. The future is also uncertain for her, and she’s lost her belief in life. She too chooses to run away, dragging herself from place to place. The one who’s found the power to do, to establish things, in despair at willing to be himself, is Cemal. He gives an ear to the voice of the resistance against hydroelectric power stations; in supporting the villagers who resist to protect their soil, water and nature, he sets out to design the future.



    Tunç Davut

    Tunç Davut


    Tunç Davut studied Cinema and Television in Eskişehir and Istanbul. His career in the film and media industry to date includes several made-for-TV series and commercials. One of his works, HENNAED LAMBS (2007), about Gallipoli Campaign, created for Turkish Radio & Television are acknowledged as one of the best documental films in Turkey and awarded by RTGD (Turkish Association of Radio Television Journalists). His first feature film ENTANGLEMENT (2015) had its world premiere in 21. Sarajevo Film Festival. Since then, the film has been invited to several other international film festivals. It has been awarded as the Best First Feature by 22. Festival International Cinéma Méditerranéen Tétouan and Mr. Davut has been awarded as the Best Director by the South European Film Festival. He is currently the Head of the Society of Cinematographic Work Creators and lectures at Anadolu University