Güney Film

When five Kurdish prisoners are granted one week's home leave, they find to their dismay that they face continued oppression outside of prison from their families, the culture, and the government.

After losing one of his horses in an accident, an illiterate horse cab driver sets out into the desert in a quest for a mythical lost treasure.

Coban and his four comrades are smugglers who live in the bleak, inaccesable mountains. They are hard, pitiless men like the county they live in, whose daily commerce is in greed, danger, betrayal and murder.

Ismail (Aytac Arman) is the educated Turk who travels to Asia from Istanbul to escape crushing unemployment in this somber social drama. With an ailing mother-in-law, a bitter wife, and a pretty young daughter to support, he takes a job as a dog killer. Ismail is saddened to see young women his daughter's age forced into prostitution. When he returns home to ask his father and brother for an advance on his inheritance, his wife leaves him. The enemy in question refers to unemployment.

After betraying his social class, denying his peasant roots and fleeing his native village, Ahmed has become a successful businessman and has found a place in the sun among the bourgeoisie. Azem, his childhood friend, has followed a quite different way. refusing the rat race, he has remained close to people of humble origin. Politically committed, he aspires to be useful to his country and more particularly to the forsaken rural world. The two former friends meet again. Due to the influence of Azem, Ahmed gradually becomes aware that his life is a failure.

Memed is a fugitive with a sole purpose to find and execute bandits in the mountains to avenge the death of his wife. One day he saves a woman from the hands of bandits…

Because of a local blood feud, a peasant family decides to sell its sheep - a most precious commodity - in far away Ankara. During their long train ride, bribes must be paid to petty officials, sheep are stolen or die in the packed, airless wagons, and the sick wife of one of the family's sons becomes deathly ill.

Produced, written and directed by Yılmaz Güney within his own personal experiences of capital offense, he dedicates Duvar to male teenagers aged 13 to 19 living behind the bars under diabolical treatments. These teenagers get barbaric corporal punishments, injurious harrows, tortures and sexual abuses just for taking the responsibility of their destiny on a wrong turn.

"Baba" is a bitter melodrama set in Istambul. A father is not able to earn enough money to feed his family. He is waiting to emigrate to Germany. When his landlord's son kills a man while drunk, the father is prepared to answer for the deed himself, provided that the landlord supports his wife and children. As there is little difference for the father between ten years in prison or ten years in a foreign country, he regards this to be the best solution.

This award winning, 1974 film by Yilmaz Güney, the legend of Turkish Cinema, tells the story of Cevher and his family and their daily struggles as seasonal workers in the cotton fields of Southern Turkey. Cevher depends on the family earnings from the fields to pay blood money for a murder one of his relatives committed. ANXIETY documents and criticizes the feudal traditions, corruption and inhumane working conditions, while the workers are coming to terms with the machines that are rapidly modernizing the landscape.

In this rural revenge drama, Güney plays Seyyit Han, a poor man in love with a woman from his Anatolian village who returns his affection. Seyyit Han postpones their marriage so that he can make his fortune elsewhere and return to the village to claim his "bride of the earth." During his prolonged absence, a rich landowner begins to woo the lonely woman, and her brother, intent upon making this propitious wedding happen, spreads the rumor that Seyyit Han has died.

"A Bad Man" - Bino is a contract killer. The owners of a dance hall hires Bino to kill Hayati Hamzaoglu, who collects tribute from their business. Bino is paid by the weight of his victims.

Based on Yılmaz Güney's script and filmed in semi-documentary style, the movie provides a fresh perspective on the history of labor issues in 1970s.