DIRECTOR’S NOTES
I listened to a lot from my mother about her childhood in the 90s, about the village fires and the alternatives they found to exist in that darkness. Bones collected from trees, the sounds animals made while escaping from fires… Even though I did not live in that atmosphere, this was the source of the unrest that had nestled inside me, I was sure of it. The unrest that had existed in my life since the first moment I remembered was the memory my mother had unconsciously transferred to me.
Nothing was clear at first, the film did not even have a structure. I duplicated the photographs my father took in Mardin, cut them out and stitched them. I did not have a text, I had pages that I scribbled with my thoughts. I looked at these pages and asked what I wanted to ask. During this thought process, the song “Rojek te” was always playing in my head. This song talks about the closeness of a day when we can feel at home.
What emerged at the end of this process was my stream of consciousness and an uncertain answer to the questions I wondered about myself. And the consciousness gained. In my opinion, this consciousness takes the story from being personal to a social place.
