Thank You, Next is a Turkish romantic comedy-drama series created by Ece Yörenç. The Netflix series follows the story of a successful young lawyer Leyla Taylan as she finds out that her first love has been cheating on her. Through the help of her best friend, she jumps back into the modern dating scene and faces all the complexities that it brings with it. Thank You, Next stars Serenay Sarıkaya in the lead role with Metin Akdülger, Hakan Kurtaş, Boran Kuzum, Ahmet Rıfat Şungar, Meriç Aral, and Bade İşçil starring in supporting roles. If you loved the fun romantic vibes of Thank You, Next here are some similar shows you could check out next.
Girls (Max & Prime Video Add-On) Credit – HBO
Girls is a comedy-drama series created by Lena Dunham. The HBO series follows the story of four young women as they try to follow their passions in New York after finishing college.
Girls (Max & Prime Video Add-On) Credit – HBO
Girls is a comedy-drama series created by Lena Dunham. The HBO series follows the story of four young women as they try to follow their passions in New York after finishing college.
- 5/9/2024
- by Kulwant Singh
- Cinema Blind
Bloody Disgusting and Cineverse are raising the dead with celebrated zombie drama The Funeral, acquired out of Berlin International Film Festival (Berlinale) for North America with plans to release the film this fall across all platforms, including its Bloody Disgusting-powered Screambox streaming service.
The news was first reported by Variety this morning.
The Funeral stars popular Turkish actor Ahmet Rifat Sungar (The Wild Pear Tree, Actress) as a solitary hearse driver who is driving the body of a young murder victim back to her family in the East of the country.
“One night, he opens the back doors of the hearse to find the dead girl making strange grunting noises. He is immediately captivated by her beauty and falls in love.
“Together, they set off on a mission to avenge her death, leaving a trail of corpses in their wake. Rising young actress Cansu Türedi plays the dead girl.”
Turkish...
The news was first reported by Variety this morning.
The Funeral stars popular Turkish actor Ahmet Rifat Sungar (The Wild Pear Tree, Actress) as a solitary hearse driver who is driving the body of a young murder victim back to her family in the East of the country.
“One night, he opens the back doors of the hearse to find the dead girl making strange grunting noises. He is immediately captivated by her beauty and falls in love.
“Together, they set off on a mission to avenge her death, leaving a trail of corpses in their wake. Rising young actress Cansu Türedi plays the dead girl.”
Turkish...
- 4/9/2024
- by Brad Miska
- bloody-disgusting.com
The Funeral
Stars: Ahmet Rifat Sungar, Cansu Türedi, Tekin Temel | Directed by Orcun Behram
Cemal, a lonely hearse driver, has been entrusted to secretly transport the body of a murdered young woman, Zeynep, to her parents’ home at their final request. But he hears strange groans from the back of the vehicle during the journey, even though Zeynep hasn’t got a pulse. As her body comes back to life, the moment he sets eyes on her, Cemal falls in love with the undead woman. So he must constantly feed her flesh by committing his own murders, even if it means dealing with the police force’s attempts to capture a serial killer.
The Funeral start strong – our protagonist tasked with keeping a body quiet for 30 days is an intriguing premise and poses a Lot of questions about how and why but all that is left behind when the the supernatural element comes into play.
Stars: Ahmet Rifat Sungar, Cansu Türedi, Tekin Temel | Directed by Orcun Behram
Cemal, a lonely hearse driver, has been entrusted to secretly transport the body of a murdered young woman, Zeynep, to her parents’ home at their final request. But he hears strange groans from the back of the vehicle during the journey, even though Zeynep hasn’t got a pulse. As her body comes back to life, the moment he sets eyes on her, Cemal falls in love with the undead woman. So he must constantly feed her flesh by committing his own murders, even if it means dealing with the police force’s attempts to capture a serial killer.
The Funeral start strong – our protagonist tasked with keeping a body quiet for 30 days is an intriguing premise and poses a Lot of questions about how and why but all that is left behind when the the supernatural element comes into play.
- 3/14/2024
- by Phil Wheat
- Nerdly
Life in remote, rural areas has always been a source of inspiration for filmmakers, with the uniqueness of such settings and their difference from the urban ones frequently resulting in intriguing narratives. Reha Erdem attempts something similar with his latest work, “Neandria” but also moves much further, presenting the microcosm of the village as a sample of a number of issues tormenting the world nowadays.
“Neandria“ is screening at Thessaloniki International Film Festival
Suna is a teenage girl living with her mother in a mountain village in Turkey. Her mother considers her racing being the sole hope for her future, and pressures her to train. Suna's uncle, the village headman, is looking for ways to repay his debt, while a construction company wants to start diffing in the area, and is in discussion with the reluctant locals. His wife, whom he married by force, keeps eloping only to be found...
“Neandria“ is screening at Thessaloniki International Film Festival
Suna is a teenage girl living with her mother in a mountain village in Turkey. Her mother considers her racing being the sole hope for her future, and pressures her to train. Suna's uncle, the village headman, is looking for ways to repay his debt, while a construction company wants to start diffing in the area, and is in discussion with the reluctant locals. His wife, whom he married by force, keeps eloping only to be found...
- 11/5/2023
- by Panos Kotzathanasis
- AsianMoviePulse
From Turkish director Orçun Behram (The Antenna), upcoming horror movie The Funeral has shared its first look (above) with Deadline, and this one sounds like quite a trip.
Deadline details this morning, “The Funeral stars popular Turkish actor Ahmet Rifat Sungar as a solitary hearse driver who is driving the body of a young murder victim back to her family in the East of the country.
“One night, he opens the back doors of the hearse to find the dead girl making strange grunting noises. He is immediately captivated by her beauty and falls in love.
“Together, they set off on a mission to avenge her death, leaving a trail of corpses in their wake. Rising young actress Cansu Türedi plays the dead girl.”
The Funeral is set to premiere at this year’s upcoming Lisbon International Horror Film Festival (aka MotelX), which runs from September 12 – September 18, 2023.
XYZ is repping...
Deadline details this morning, “The Funeral stars popular Turkish actor Ahmet Rifat Sungar as a solitary hearse driver who is driving the body of a young murder victim back to her family in the East of the country.
“One night, he opens the back doors of the hearse to find the dead girl making strange grunting noises. He is immediately captivated by her beauty and falls in love.
“Together, they set off on a mission to avenge her death, leaving a trail of corpses in their wake. Rising young actress Cansu Türedi plays the dead girl.”
The Funeral is set to premiere at this year’s upcoming Lisbon International Horror Film Festival (aka MotelX), which runs from September 12 – September 18, 2023.
XYZ is repping...
- 9/12/2023
- by John Squires
- bloody-disgusting.com
Exclusive: Paris-based genre specialist Reel Suspects has boarded world sales on Turkish director Orçun Behram’s horror The Funeral ahead of its premiere at the Lisbon International Horror Film Festival, better known as MotelX.
XYZ is repping North America.
Famu and Columbia College Chicago-educated Behram previously made waves with with 2019 dystopian drama The Antenna, about the residents of a tower block terrorized by a new communications system. The film played at a number of festivals including Toronto and London.
New film The Funeral stars popular Turkish actor Ahmet Rifat Sungar as a solitary hearse driver who is driving the body of a young murder victim back to her family in the East of the country.
One night, he opens the back doors of the hearse to find the dead girl making strange grunting noises. He is immediately captivated by her beauty and falls in love.
XYZ is repping North America.
Famu and Columbia College Chicago-educated Behram previously made waves with with 2019 dystopian drama The Antenna, about the residents of a tower block terrorized by a new communications system. The film played at a number of festivals including Toronto and London.
New film The Funeral stars popular Turkish actor Ahmet Rifat Sungar as a solitary hearse driver who is driving the body of a young murder victim back to her family in the East of the country.
One night, he opens the back doors of the hearse to find the dead girl making strange grunting noises. He is immediately captivated by her beauty and falls in love.
- 9/12/2023
- by Melanie Goodfellow
- Deadline Film + TV
Stars: Billur Melis Koç, Ahmet Rifat Sungar, Baki Kaymaz, Yagizcan Konyah | Written by Emre Akay, Deniz Cuylan | Directed by Emre Akay
On paper Av: The Hunt sounds like yet another take on the theme of hunting humans, however co-writer/director Emre Akay’s film has a rather interesting concept up its sleeve, which elevates the typical story into something more interesting – a diatribe on the patriarchy and the vile idea of “honour killings”.
Av: The Hunt opens with a young couple making love when suddenly a cop barges in while the woman, Ayse, is in the shower. The police officer and Ayse’s lover struggle and he ends up dead at the hands of the cop. You see the dead man is Ayse lover, Not her husband. Feeling that her family and that of her husband have been disgraced by Ayse’s actions, all the men in her strict...
On paper Av: The Hunt sounds like yet another take on the theme of hunting humans, however co-writer/director Emre Akay’s film has a rather interesting concept up its sleeve, which elevates the typical story into something more interesting – a diatribe on the patriarchy and the vile idea of “honour killings”.
Av: The Hunt opens with a young couple making love when suddenly a cop barges in while the woman, Ayse, is in the shower. The police officer and Ayse’s lover struggle and he ends up dead at the hands of the cop. You see the dead man is Ayse lover, Not her husband. Feeling that her family and that of her husband have been disgraced by Ayse’s actions, all the men in her strict...
- 4/15/2022
- by Phil Wheat
- Nerdly
Stars: Billur Melis Koç, Ahmet Rifat Sungar, Baki Kaymaz, Yagizcan Konyah | Written by Emre Akay, Deniz Cuylan | Directed by Emre Akay
On paper Av The Hunt sounds like yet another take on the theme of hunting humans, however co-writer/director Emre Akay’s film has a rather interesting concept up its sleeve, which elevates the typical story into something more interesting – a diatribe on the patriarchy and the vile idea of “honour killings”.
Av The Hunt opens with a young couple making love when suddenly a cop barges in while the woman, Ayse, is in the shower. The police officer and Ayse’s lover struggle and he ends up dead at the hands of the cop. You see the dead man is Ayse lover, Not her husband. Feeling that her family and that of her husband have been disgraced by Ayse’s actions, all the men in her strict family...
On paper Av The Hunt sounds like yet another take on the theme of hunting humans, however co-writer/director Emre Akay’s film has a rather interesting concept up its sleeve, which elevates the typical story into something more interesting – a diatribe on the patriarchy and the vile idea of “honour killings”.
Av The Hunt opens with a young couple making love when suddenly a cop barges in while the woman, Ayse, is in the shower. The police officer and Ayse’s lover struggle and he ends up dead at the hands of the cop. You see the dead man is Ayse lover, Not her husband. Feeling that her family and that of her husband have been disgraced by Ayse’s actions, all the men in her strict family...
- 9/1/2020
- by Phil Wheat
- Nerdly
FrightFest, the UK horror festival that was forced to move online this year because of pandemic disruption, has unveiled a lineup for its 21st edition (August 27-31) including seven world premieres.
The event opens with the UK premiere of Sky Sharks, which features Nazi zombie-piloted airborne killer sharks.
World premieres include Logan Thomas’s There’s No Such Thing As Vampires, Patrick Rea’s I Am Lisa, Ruben Pla’s The Horror Crowd, G-Hey Kim’s Don’t Click, Toby Watts’ Playhouse, Airell Anthony Hayles and Sam Casserly’s They’re Outside, and Francesco Giannini’s Hall.
Industry-focused events will include a panel hosted by Den Of Geek’s UK editor Rosie Fletcher about how the horror genre has been affected by the pandemic.
All online film screenings will be geo-locked to UK audiences and available through FrightFest’s website.
“We will desperately miss seeing all of you in person...
The event opens with the UK premiere of Sky Sharks, which features Nazi zombie-piloted airborne killer sharks.
World premieres include Logan Thomas’s There’s No Such Thing As Vampires, Patrick Rea’s I Am Lisa, Ruben Pla’s The Horror Crowd, G-Hey Kim’s Don’t Click, Toby Watts’ Playhouse, Airell Anthony Hayles and Sam Casserly’s They’re Outside, and Francesco Giannini’s Hall.
Industry-focused events will include a panel hosted by Den Of Geek’s UK editor Rosie Fletcher about how the horror genre has been affected by the pandemic.
All online film screenings will be geo-locked to UK audiences and available through FrightFest’s website.
“We will desperately miss seeing all of you in person...
- 7/28/2020
- by Tom Grater
- Deadline Film + TV
Kirsten Niehuus, managing director of Medienboard Berlin-Brandenburg, hosted a reception in Cannes on Saturday to celebrate the inclusion in the festival lineup of several films backed by the fund.
Among those pictures being feted in the garden of the Grand Hotel were two competition entries, Nuri Bilge Ceylan’s “The Wild Pear Tree” and Alice Rohrwacher’s “Happy as Lazzaro,” and Ulrich Koehler’s “In My Room” and Sergei Loznitsa’s “Donbass,” both in Un Certain Regard.
Among the producers attending the event were Benny Drechsel, Regina Ziegler, Fabian Gasmia, Stefan Arndt, Christoph Friedel, Claudia Steffen, Martin Moszkowicz and Fabian Massah, who was selected by European Film Promotion as one of its Producers on the Move.
Also attending was South Africa’s Sibs Shongwe-la Mer, who is one of 15 filmmakers selected to take part in Cannes’ Cinefondation Workshop. Medienboard is backing his latest film, “The Sound of Animals Fighting,” through its German co-producer Rohfilm Productions.
Among those pictures being feted in the garden of the Grand Hotel were two competition entries, Nuri Bilge Ceylan’s “The Wild Pear Tree” and Alice Rohrwacher’s “Happy as Lazzaro,” and Ulrich Koehler’s “In My Room” and Sergei Loznitsa’s “Donbass,” both in Un Certain Regard.
Among the producers attending the event were Benny Drechsel, Regina Ziegler, Fabian Gasmia, Stefan Arndt, Christoph Friedel, Claudia Steffen, Martin Moszkowicz and Fabian Massah, who was selected by European Film Promotion as one of its Producers on the Move.
Also attending was South Africa’s Sibs Shongwe-la Mer, who is one of 15 filmmakers selected to take part in Cannes’ Cinefondation Workshop. Medienboard is backing his latest film, “The Sound of Animals Fighting,” through its German co-producer Rohfilm Productions.
- 5/13/2018
- by Leo Barraclough
- Variety Film + TV
Release Date: May 1
Director: Nuri Bilge Ceylan
Writers: Ebru Ceylan, Nuri Bilge Ceylan
Cinematographer: Gökhan Tiryaki
Starring: Yavuz Bingol, Hartrice Aslan, Rifat Sungar, Ercan Kesal
Studio/Run Time: Zeitgeist, 109 mins.
Evil is subtle, but undeniable, in fascinating Turkish family drama
So much goes unsaid in Three Monkeys, that the simian alluded to in the title seems likely to be the one who “speaks no evil.” Likewise, in this Nuri Bilge Ceylan’s Cannes-wowing noir, the two killings (one accidental, the other premeditated) that bookend the story are never seen. And what is heard, amid the torturously intimate unraveling of a Turkish family, is only as audible as a sigh, a quickening heartbeat, the crack of a palm across a face. Masterfully lensed in dark hues and long static shots, Monkeys tracks the consequences of a cover-up that sends a politician’s chauffeur to jail for a hit-and-run, instead of the guilty man.
Director: Nuri Bilge Ceylan
Writers: Ebru Ceylan, Nuri Bilge Ceylan
Cinematographer: Gökhan Tiryaki
Starring: Yavuz Bingol, Hartrice Aslan, Rifat Sungar, Ercan Kesal
Studio/Run Time: Zeitgeist, 109 mins.
Evil is subtle, but undeniable, in fascinating Turkish family drama
So much goes unsaid in Three Monkeys, that the simian alluded to in the title seems likely to be the one who “speaks no evil.” Likewise, in this Nuri Bilge Ceylan’s Cannes-wowing noir, the two killings (one accidental, the other premeditated) that bookend the story are never seen. And what is heard, amid the torturously intimate unraveling of a Turkish family, is only as audible as a sigh, a quickening heartbeat, the crack of a palm across a face. Masterfully lensed in dark hues and long static shots, Monkeys tracks the consequences of a cover-up that sends a politician’s chauffeur to jail for a hit-and-run, instead of the guilty man.
- 6/24/2009
- Pastemagazine.com
Cannes film review, In Competition
It's no secret that the films of Turkish auteur Nuri Bilge Ceylan are an acquired taste. They are as slow as molasses, but as discerning cinephiles discovered with "Distant" (2003) and "Climates" (2006), what a sweet flavor that molasses, properly savored, contains. "Three Monkeys" is no different, yet at the same time represents some tentative steps into new and welcome thematic territory.
Low-grossing theatrical releases can be expected in major cities around the world in which the long-take aesthetic is still appreciated, and ancillary sales, especially DVD, will be even better. It's a must for festivals with even modest art-film pretensions and, given Ceylan's highly developed visual sensibility, should especially appeal to art museum programrs.
Ceylan's usual focus on individuals has now been expanded to include a family, comprising a husband, Eyup, a wife, Hacer, and their teenage son Ismael. Eyup, the driver of a local politician named Servet, is convinced by the latter to take the rap for a death caused by a driving accident on the eve of elections. His sentence will be short, Servet explains, his family will continue to be paid his salary while he's in prison, and a lump sum will be waiting for him when he gets out.
All of this backstory is conveyed by voiceover in seconds, then gotten out of the way as the film settles in to a leisurely exposition of the daily life of mother and son. Nothing whatsoever seems to happen, yet little clues are constantly being planted that will continue to build throughout the film and lead to several grand, if understated, emotional payoffs.
No one currently working in cinema today can suggest an interior psychological state, solely through the camera's external observation of an unmoving character, as well as Ceylan can. Also, he uses the entire frame, which is always perfectly composed for maximum expressivity, whether in a long-held extreme long shot, or in a devastating close-up. Differential focusing and camera angle are also meticulously thought out, and the emotional tension created in a few purposely drawn-out scenes can be excruciating.
The new territory, besides the emphasis on family dynamics, includes the occasional unnerving appearance of a long-dead younger brother, and several subtle feints in the direction of a apparently new religious sensibility.
The film is not without blemishes. For one thing, Hacer's motivation for a rash act that severely threatens the family is barely sketched in, hence not quite believable. For another, Ceylan seems unsure how to end his film, which would require a decision concerning which themes to accent.
But these are small cavils in the face of a film whose every shot seems lifted right off the wall of an art gallery and just as powerfully, if quietly, satisfying.
Cast: Yavuz Bingol, Hatice Aslan, Ahmet Rifat Sungar, Ercan Kesal. Director: Nuri Bilge Ceylan. Screenwriter: Ebru Ceylan, Ercan Kesal, Nuri Bilge Ceylan. Producer: Zeynep Ozbatur. Director of photography: Gokham Tiryaki. Art Director: Ebru Ceylan. Editor: Ayhan Ergursel, Bora Goksingol, Nuri Bilge Ceylan
Sales: Pyramide International
No MPAA rating, 109 minutes.
It's no secret that the films of Turkish auteur Nuri Bilge Ceylan are an acquired taste. They are as slow as molasses, but as discerning cinephiles discovered with "Distant" (2003) and "Climates" (2006), what a sweet flavor that molasses, properly savored, contains. "Three Monkeys" is no different, yet at the same time represents some tentative steps into new and welcome thematic territory.
Low-grossing theatrical releases can be expected in major cities around the world in which the long-take aesthetic is still appreciated, and ancillary sales, especially DVD, will be even better. It's a must for festivals with even modest art-film pretensions and, given Ceylan's highly developed visual sensibility, should especially appeal to art museum programrs.
Ceylan's usual focus on individuals has now been expanded to include a family, comprising a husband, Eyup, a wife, Hacer, and their teenage son Ismael. Eyup, the driver of a local politician named Servet, is convinced by the latter to take the rap for a death caused by a driving accident on the eve of elections. His sentence will be short, Servet explains, his family will continue to be paid his salary while he's in prison, and a lump sum will be waiting for him when he gets out.
All of this backstory is conveyed by voiceover in seconds, then gotten out of the way as the film settles in to a leisurely exposition of the daily life of mother and son. Nothing whatsoever seems to happen, yet little clues are constantly being planted that will continue to build throughout the film and lead to several grand, if understated, emotional payoffs.
No one currently working in cinema today can suggest an interior psychological state, solely through the camera's external observation of an unmoving character, as well as Ceylan can. Also, he uses the entire frame, which is always perfectly composed for maximum expressivity, whether in a long-held extreme long shot, or in a devastating close-up. Differential focusing and camera angle are also meticulously thought out, and the emotional tension created in a few purposely drawn-out scenes can be excruciating.
The new territory, besides the emphasis on family dynamics, includes the occasional unnerving appearance of a long-dead younger brother, and several subtle feints in the direction of a apparently new religious sensibility.
The film is not without blemishes. For one thing, Hacer's motivation for a rash act that severely threatens the family is barely sketched in, hence not quite believable. For another, Ceylan seems unsure how to end his film, which would require a decision concerning which themes to accent.
But these are small cavils in the face of a film whose every shot seems lifted right off the wall of an art gallery and just as powerfully, if quietly, satisfying.
Cast: Yavuz Bingol, Hatice Aslan, Ahmet Rifat Sungar, Ercan Kesal. Director: Nuri Bilge Ceylan. Screenwriter: Ebru Ceylan, Ercan Kesal, Nuri Bilge Ceylan. Producer: Zeynep Ozbatur. Director of photography: Gokham Tiryaki. Art Director: Ebru Ceylan. Editor: Ayhan Ergursel, Bora Goksingol, Nuri Bilge Ceylan
Sales: Pyramide International
No MPAA rating, 109 minutes.
- 5/16/2008
- The Hollywood Reporter - Movie News
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