YALDA NIGHT

I tried to explain that people live only within their own realities, through two people who do not see and hear each other although they live under the same roof. While Aras is cooking dinner for Hena, he does not feel her pain because the dinner he cooks for her at that time is important. Hena, on the other hand, cares about taking care of herself, not what Aras does for her and the house. Both of them are in some sort of anticipation of each other, but they cannot meet at a common point. People when they escape from the realities of life, they take refuge in the things they are used to, and as an indicator of this, everyone is interested in what they want throughout the film. Hena jumps out the window after having sex with Aras as a reaction to Aras's lack of his ability to see because she knows that he is sensitive about closing the window. The child, on the other hand, is given as an adult body, not as a baby. I chose this because there is a huge difference between the naive feeling that people feel when looking at a baby and looking at an adult, because I want to him to be looked at and interpreted with adult emotions. The film is also about the confrontations of a child's life after it is born. Like when he tries to touch his mother for the first time and confronts his father. Afterwards, the child appears as the symbol of the id in an adult body and puts in his mouth whatever he picks up. He unconsciously ends his life with a knife on the chicken prepared by his father. The movie ends in an uncertain way. I wanted to finish the movie in a way that the audience would interpret their own endings. There is no clear ending to this story because that is the only way the audience can watch the movie with their own realities, just like the characters in the movie. There are only images that show that this is a cyclical phenomenon.