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Alis

Alis (76), a Turkish-Armenian woman, confronts the loss of her beloved summerhouse as the traumas of the 1955 Istanbul Pogrom resurface amidst the pressures of urban transformation.

  • Beril Tan
    Director
    A Different Kind Of Mourn
  • Beril Tan
    Writer
    "A Different Kind Of Mourn"
  • Yigit Serdar Canoglu
    Producer
    "A Different Kind Of Mourn" "Sun, Moon and Woman" "Unknown Continent"
  • Deniz Eyuboglu Aydin
    Director of Photography
    "Minus One" "Canavarlar Sofrası" "Kot Farkı"
  • Guzin Erkaymaz
    Art Director
    "Aftersun"
  • Deniz Turkali
    Key Cast
    "Alis"
    "Dul Bir Kadın" "İbo ile Güllüşah" "Eylül Fırtınası"
  • Mucahit Kocak
    Key Cast
    "Uzeyir"
    "Between Two Dawns" "Hesitation Wound" "Rutubet"
  • Sebnem Sonmez
    Key Cast
    "Hayret"
    "Bergen" "Zuhal" "Mahallenin Bazı Kedileri"
  • Ceren Tasci
    Key Cast
    "Mine"
    "The Longest Night" "Hi Mom, It's Me, Lou Lou" "Menajerimi Ara"
  • Erkan Akbulut
    Key Cast
    "Mami"
  • Project Type:
    Short
  • Runtime:
    17 minutes 20 seconds
  • Completion Date:
    September 5, 2024
  • Production Budget:
    50,000 USD
  • Country of Origin:
    Turkey
  • Country of Filming:
    Turkey
  • Language:
    Armenian, Turkish
  • Shooting Format:
    Digital
  • Aspect Ratio:
    2.35:1
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Distribution Information
  • Lumanes Film
    Sales Agent
    Country: Worldwide
    Rights: All Rights
Director Biography - Beril Tan

Beril Tan (Turkey) is a director, producer, and conversant visual storyteller. Her educational journey commenced at Kuwait English School, where she laid the foundation for her filmmaking career. After she returned to Turkey, she graduated from ISTEK High School. She started to study in Cinema and Television at Istanbul Bilgi University.

Throughout her academic tenure, Beril's focus gravitated towards the intricacies of visual culture, actor management, film grammar, and the art of film editing. Building upon her theoretical knowledge, she embarked on practical experiences, serving as an assistant director on various television and commercial projects. Her dedication and expertise culminated in the successful production of her debut short film, "Farklı Bir Yas" (A Different Kind Of Mourn), which was supported by the Ministry of Culture and Tourism of the Republic of Turkey.

"A Different Kind Of Mourn" made waves in the festival circuit, competing and screening in over 25 prestigious events and winning five awards. It is now available to watch on MUBI Turkey. Currently, Beril Tan holds a significant position as a director, overseeing commercial and short film productions, while also contributing as a producer and editor for social media projects at Lumanes Film. In this capacity, she remains dedicated to advancing the art of visual storytelling. Her upcoming project, "Alis," is promising another compelling addition to her filmography.

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Director Statement

Alis, my downstairs neighbor, Araksi Aliksenyan, is a character and story imbued with traces of reality. Araksi, a Turkish Armenian woman in her 70s, lives alone. Our shared experience of being two solitary women has strengthened our bond, making us like grandmother and granddaughter to each other. The memory she shared with me that impacted me the most was her experience during the events of September 6-7. In the attacks of September 7, 1955, she lost her home, leaving deep wounds within her. The ongoing urban transformation in Turkey and her story became the genesis of Alis for me.

I constructed Alis on three pillars: belonging, shelter, and exclusion. Alis's connection to her home is akin to a mother-child relationship. She refers to it as her daughter. She protects it as if it were a part of herself, seeing it as her refuge. However, this sanctuary is under threat from the urban transformation encroaching upon the street of the apartment building. It triggers Alis's past traumas. Additionally, the neighbors in the building have various reasons for wanting this transformation. They are confident that Alis will not leave her home, so they proceed with the process secretly. However, Alis witnesses this and, just like them, initiates a covert plan to challenge the damaged report they've obtained. At the end of the film, when Alis firmly plants her plastic umbrella in the ground like a war flag, we understand her unwavering stance throughout the process.

For the visual language, I intend to use a subjective form that harmonizes with Alis's emotions. In the mise en scene, I will allow tension and paranoia to seep into a seemingly colorful and peaceful summer season.’ With the film 'Alis,' I aim to convey individuals deep connection to their homes and leave a lasting tribute to Aunt Araksi's resilience.