23 January 2026, Friday

Flipper premiered at LSFF today. Screened at Curzon Soho.
We were thinking of showing it at a local pub, so it’s pretty cool that we got to show it in a big cinema.
It will also be screened at the BFI next Tuesday.

13 September 2024, Friday

 

Scenes from Istanbul—Drama
3-9 September, 2024

 
 
 

2 August 2024, Friday

Céline on a Cloudy Day will be screening as part of the international competition, at the 47th Drama International Film Festival.

 
 

19 May — Sunday

Watched Gleaners and I. Such a beautiful film.

12 March—Tuesday

My last night in Highbury & Islington.
I’ve been suffering from leg pain due to a hernia and a cyst in my spine.
I can walk for kilometres but can’t sit for two minutes.
It’s been a week since I started sleeping on the sofa bed. I figured it’s less painful to wake up there.

I was a bit stressed about my last meal in this house. Almost everything is gone now. In a way, the leg pain helps me to dramatize the move less.

I went out for a walk to ease my pain and saw someone with a McDonald’s bag.

I fell asleep watching Dune.

 
 

28 February 2024, Wednesday

 
 

Very excited to have received the test copy of NAZARÉ, a zine I’m publishing in the next couple of weeks. In 2019, I photographed three landscapes from the same spot on a hill in Nazaré, Portugal: (1) some rocks, (2) the sand, and (3) the sea. I then found many more images by cropping, resizing, and recomposing these photos. This zine features twelve of them.

1 February 2024, Thursday

Here is a video sketch from last summer about a man who appears out of nowhere

Lisbon, June

26 August 2023, Friday

 
 

The past two years haven’t been easy for many of us, and I took my share as well. After a lot of ups and downs, and a good amount of in-betweens, today I’ve locked it and sent to mix and grade. Can’t wait to share some clips from it soon.

 

7 December—Thursday

I was late for my train and missed my meeting.
But my train was late too.

21 November 2023, Tuesday

Some stills from L’Atalante (1934) by Jean Vigo.
One of the most beautiful films I’ve seen.

18 November—Saturday

Photograph from the set of Pickpocket, 1959

I went to Close Up to see Pickpocket* by Bresson.

There was a guy behind me who didn’t stop snoring, who made everyone laugh for the first few minutes. He had a Cannes Film Festival hat.

After the film I saw that John Smith the filmmaker was there too.
I sent him two emails over the past 5 months, asking his thoughts about two shorts film I made. He never replied.

I thought of going and confronting him, but he seemed like he was enjoying his Saturday night and had company.
He is 71 years old by the way.

I went out, read a little bit about Bresson, but kept going back and forth between going back inside to talk to John Smith.
" Ah! I can ask him if he enjoyed the snoring”, I thought. Could be an ice-breaker. Not that funny though. Does it matter?

I finally made up my mind to go back in to talk to him, but he wasn’t there anymore. It was only a few people drinking beer, and the guy with the Cannes Film Festival hat was there too, who now seemed full of energy.

*NOTES ON PICKPOCKET
I find it difficult to talk about films that are so important for cinema history.
So much has been said and written about Pickpocket.

But the things I loved were:

  1. The script. One of the most unique structures I’ve seen. I hadn’t felt I had seen anything this fresh since watching Kiarostami or Rohmer for the first time.

  2. The idea of the character, who was somewhere in between Hitchcock and Camus.

  3. The editing and the pace - I now realize the influence of this film on Haneke’s 7th Continent.

  4. How simple but layered the cinematography was

  5. The very subtle humor

The things that I wasn’t a big fan of:

  1. Some of the acting, not the parts that were reserved and almost dead / or awkward, but the parts where Michel was actually more reactive. I almost wanted it to be a bit less expressive when it came to Michel’s frustration. I also like the experiment about the “modeling” idea of Bresson, but I think my whole excitement still comes from the lack of control we have over actors.

  2. The excessive fade-in fade-out transitions. They bothered me a lot for some reason. I know it was maybe used to emphasize the simplicity of the narrative, playing with how the time moves, but except for one or two occasions, I was a bit bored of these. One can say that it’s because of the period it was shot in, but the film isn’t that old (1959), which is the same year as 400 Blows.

Things that I’m not sure of:

  1. The voiceover. I really wonder how it would be if I weren’t given the voiceover that constantly explained Michel’s thought process. I don’t think Bresson decided to go with that for “exposition” but more for the clarity of how subjective the whole film is. I want to see it again to come to a conclusion about this.

 

14 November—Monday

Today I applied for yet another Schengen Visa.

 
 

3 October— Tuesday

Homeless man in his 40s.
He is drunk.
He has a dog.
It’s a massive dog.
I’m not normally like this,
it’s because I’m drunk.
Only six months old.
She’ll be six months on the 6th of October.
I had another one who lived 7 or 8 years.
This one is probably going to live 7 or 8 years too.
She is going to outlive me.
You’re going to outlive me, right girl?
Good girl.

40 yaşlarında evsiz adam. Adam sarhoş. Köpeğiyle. Kocaman bir köpek.
Normalde böyle değilim, sarhoşum o yüzden. Sadece Altı aylık. 6 Ekim’de altı aylık olacak.
Bi’ tane daha vardı, 7-8 yıl yaşadı. Bu da 7-8 yıl yaşayacak muhtemelen.
Beni gömecek. Beni gömeceksin dimi kızım? Güzel kızım.