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Cilveli Kız

Kiraz is a street vendor, trying to gather enough money for her father's operation. Rich Hayrullah Bey's son Aydin is in love with Oksan, the bar singer. Hayrullah opposing their marriage, meets Kiraz on the ship and asks her help to prevent his son's marriage. Kiraz has to attract Aydin and she will get the money for the surgery in turn. Aydin doesn't give up Oksan, on their wedding day Kiraz gets disguised as the bride and Aydin gets puzzled as he opens the veil. Oksan is after Aydin's money only. Kiraz and Aydin fall in love, but now Hayrullah Bey is against their marriage. Kiraz says that she is married. Aydin goes to see her father and finds out about the truth. Hayrullah Bey and Aydin search for Kiraz who already has left home, they want to get things settled. So they do!

Cilveli Kız

10.0 1969
Sahel-e Entezar

Ghasem Khan thought he owned part of the sea and got into a clash with some fishermen over fishing rights. Everyone joined the fight and after Ghasem Khan's people dispersed the fishermen they confiscated the fish they had caught. After his son Masoud attacked him and said his claim to ownership of part of the sea was unconscionable Ghasem Khan drove him out of the house; he took refuge with the people. Ahmad loves Kazem's daughter Maryam. Ahmad went to sea fishing with a group of fishermen but the sea was tempestuous and he turned up missing.

Sahel-e Entezar

9.0 1963
Yılan Soyu

The film tells the story of a man who fights against arms smugglers. Orhan is the general manager of a shipping company. One day, Orhan receives a tip-off via radio. The company's ships are being used for arms smuggling. Upon receiving the tip, Orhan attempts to inspect the cargo on the ships but is lost at sea in an explosion. Orhan, who was washed ashore in the Aegean Sea, is rescued by Ayfer. Upon returning to Istanbul, Orhan's brother is killed by a bomb placed in his car. As a result, Orhan takes action and becomes embroiled in a difficult struggle.

Yılan Soyu

8.0 1969
On Sunday Afternoon

A voice, warm and heartbreaking, that of Brisseau himself, coils over black and white images. The tone was set very quickly: "To wake up is to be born again in the world of despair." 'On Sunday afternoon' is a film all at once clinical and theoretical on melancholy in the strong sense of the famous "black bile" of the Greeks whose author seems to want to make a complete turn, from his tragic dimension to his psychological dimension, even ending his film with a long quote from Freud's 'Mourning and Melancholia'.

On Sunday Afternoon

3.2 1967
Irrlicht und Feuer

Jürgen Fohrmann works as a hauer underground. In the course of the coal crisis, his mine closes - he loses the work. In this mood, his wife's prosperity thinking gets on his nerves - his marriage threatens to break. The dismissed coal buddy applys, first becomes an auxiliary worker, but then receives a job in an automated operation of the electrical industry and believes to have socially risen through this "clean work". Fohrmann quickly realizes that wearing a "white coat" is only seemingly better than the arduous work in the pit and understands that he can no longer stay out of the work struggles of the buddies.

Irrlicht und Feuer

9.0 1966
Vibrations

Barbara, a frustrated writer who is also sexually frustrated, seeks to recharge her life by moving into a Manhattan apartment, where she earns money typing up manuscripts for other writers. Next door, a sexy young lady plays a variety of erotic games revolving around her hypnotically humming vibrator. When Julie, Barbara's hot-to-trot sister shows up, she reluctantly allows her to stay, even though memories of incestuous girlhood explorations between them cause her obvious distress.

Vibrations

5.0 1968