Written and Directed By :
Serhat Tutumluer (Eflatun) • Melisa Sozen (Leyla)
Mesut Akusta (Osman) • Nihat Ileri (Lineage Danyal)
Mehmet Ali Nuroğlu (Lineage Yakup)
Rıza Sonmez (Chamberlain Of Danyal) • Numan Acar (Decapitator)
Guest Actors :
Bulent Inal • Altan Erkekli
Ahmet Mumtaz Taylan • Mustafa Uzunyilmaz
Produced By :
Elif Dagdeviren Guven
Executive Producer :
Assistant Director :
Director Of Photography :
Ulas Cihan Simsek
Visual Effect Coordinator :
Visual Effect Artists :
Art Directors :
Serdar Yilmaz • Elif Tascioglu
Miniatur Artist :
Sound Design :
History and Culture Advisors :
Prof. Dr. Cemal Kafadar
Dr. Filiz Çagman
Associtate Prof. Banu Mahir
Project Advisors :
Eflatun, a miniaturist who lives in 17th century Istanbul, the capital city of the Ottoman Empire, uses western style to paint a portrait of his son who has just died. But doing this gives him conflicting emotions, for painting “like a Venician or Frank” distances him from the style of painting taught to him by his own masters. While troubled with these kinds of thoughts, he is taken to the residence of an Ottoman vezir.
There he learns that a pretender to the throne, a prince named Danyal who has been leading a revolt against the Ottomans, has been captured in a distant Anatolian province and is to be executed. To ensure the identity of the rebel to be killed, the palace orders Eflatun to paint a portrait of the rebel in the western style. After receiving his orders, Eflatun sets out on a difficult journey into Anatolia accompanied by a select group of palace guards.
His apprentice Gazal is to be held in custody at the residence until Eflatun accomplishes his mission and returns. The group takes pity on a slave girl (Leyla) they meet on the way and bring her with them. They finally reach the caravansary where a surprise waits for them.
Given the atmosphere within the hegemonic and dominant mainstream commercial cinema in which the use of alternative types of expression tends to be restricted, as I was writing the screenplay for Cenneti Beklerken (Waiting For Heaven) I kept asking myself if it is possible to create a cinema that developes out of a different history and culture.
I wondered what kind of results I could get by using classical Ottoman miniature aesthetic as a tool for cinematic expression. During the preliminary work on the project I realized that while it is possible to use a traditional art form like miniature art (considered to be a form of dead art) to create a new aesthetic, the end result would be a highly experimental product. I also realized that there is a danger of impoverishing the film’s language if I used an expression that would narrow the aesthetic interest. To circumvent this danger, as I made use of Ottoman miniature art form I also tried not to weaken my use of other forms of expressions possible in contemporary cinema, and did this not just for the sake of referring to a classical art form.
In short, in this film I have tried to combine the use of both the manners inherent in European (Western) forms of painting and that inherent in Eastern miniature art forms. I also used the film’s content to further support this utilization of a new aesthetic. In this sense there is an overlap in my endeavor and the film’s subject.