I am a selftought illustrator based in Germany. I like to draw funny and cute figures and animals for childrens books or childrens related stuff. I would like to get a contract for a childrensbook or toys and games.
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You will Enter through a Door consists of 19 essays on contemporary Turkish cinema, which invite the reader to contemplate Turkey's distant and close, chronic and novel, painful and benumbing problems through cinematic fiction. With essays on the films of prominent directors such as Nuri Bilge Ceylan, Fatih Akın, Kutluğ Ataman, Reha Erdem, Zeki Demirkubuz, Semih Kaplanoğlu, and a number of young directors, this book can be read as a guide to Turkish cinema, both in its mainstream and arthouse incarnations. Contributions by Meltem Ahıska, Barış Engin Aksoy, Feride Çiçekoğlu, Bülent Diken, Boğaç Ergene, Meltem Gürle, Karin Karakaşlı, Sema Kaygusuz, Özlem Köksal, Nazan Maksudyan, Fatih Özgüven, Mithat Sancar, Asuman Suner, Yeşim Tabak, Ebru Çiğdem Thwaites, Nejat Ulusay, Mesut Yeğen, and Fırat Yücel.
Every year in spring, the nomads stop by Soraya's village on their way to their summer home in the Afghan mountains. Accompanying them is Tarek, who knows sheep better than anyone else and is a wonderful storyteller. But this year Soraya waits for him in vain. According to an old tradition, as the seventh daughter in her family, she was raised as a boy and was able to move freely and attend school. But as a 14-year-old, she has reached the age where she should be living as a girl again in the quiet of her home. In fact the Taliban has, in no uncertain terms, mandated that she do so. They have also threatened Tarek and expect him to put his excellent animal tracking abilities to work for them. The nomads' plight worsens dramatically. Tarek and Soraya can see no other way and each journey out into the world, without knowing where the other is or what they're doing. Unexpectedly, they cross paths in the mountains.
As a film critic at large, Richard Bolisay has never been interested in the rigid dichotomy between good and bad, not letting movies off easy with a mere pointing of the thumb in either direction. Rather, as borne out by the reviews and festival dispatches in this collection, he burrows into each movie, teasing its furrows and breaking its codes with a forensic exhilaration in defiance of the limited purview and shallow agency typically accorded to so-called film criticism. Break It to Me Gently is a collection of essays as much as it is a collection of times, people, experiences, thoughts, sensations, places, and stories, that finds its center on Filipino film but, like most displays of youthful ambition, tries to hem in histories, tall tales, politics, memoirs, foresights, and journalism, to mimic the raptures and tensions of the period.
