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Zeynep Dadak

@zeynedada

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Film Person
Berlin + İstanbul

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Telefonum hatırlattı altı yıl önce bugün, 2020 Antalya Altın Portakal Film Festivali'nde Ah Gözel İstanbul gösteriminden, canım yönetmenim, canım arkadaşım Zeynep Dadak ile... Çok özledim çok!

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“83. Venedik Film Festivali’nin ‘Klasikler’ bölümünde gösterilen 1992 yapımı ‘Blue Eyes of Yonta’, güncel filmlerin tekdüzeliği arasında taze bir soluk gibiydi. Flora Gomes imzalı film, Batı Afrika ülkesi Gine-Bissau’da bağımsızlık savaşı sonrası büyüyen kuşağın umutlarına, özlemlerine, gelecek hayallerine şefkatli ve mizahi bir bakış atıyor.”

Zeynep Dadak (@zeynedada), Flora Gomes imzalı filmi ve festivale dair izlenimlerini yazdı: ‘Venedik Film Festivali’nin Ardından: Yonta’nın Mavi Gözleri’

Yazının tamamını okumak için link bio’da.

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This Thursday as part of @fragmentfestival you are invited to GRIM KINO: Unstill Image, curated by Alper Turan

1. Last May in Theaters — Arief Budiman @keariefan

2. [ pink noise ] — Clint Enns @clintenns

3. Katarakt — Sofia Dona @sofia_dona_

4. Manal Issa, 2024 — Elisabeth Subrin @elisabethsubrin

5. Weird Absurd Whatever — Zeynep Dadak & Çiçek Kahraman @zeynedada @cicek_kahraman

24 September 2026, 19:00
Doors open 18:30
100,- Order your ticket through the link in our bio

Originally presented at Images Festival, Toronto, and presented at GRIM KINO in partnership with Images Festival @imagesfestival Supported by @cultivastiftelsen

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We are happy to present Unstill Image, a film program curated by Alper Turan, for the september edition of GRIM KINO

Originally presented at Images Festival in Toronto, Unstill Image brings together films by Arief Budiman, Clint Enns, Çiçek Kahraman, Elisabeth Subrin, Sofia Dona and Zeynep Dadak.

The works in Unstill Image both submit to and sabotage that capture.When power reduces each of us to a single frame, can we move out of it together by moving with moving images?

An imprisoned filmmaker, Çiğdem Mater, imagined into freedom in Zeynep Dadak and Çiçek Kahraman’s Weird Absurd Whatever, where rehearsal becomes a fragile space to think and speak with someone the state has excised from view. The double shoreline of Sofia Dona’s Katarakt, filmed from the village of Katarraktis on the island of Chios, where a fixed strip of sea between Greece and Turkey becomes a blurred horizon through which a WWII refugee and a contemporary political exile look toward, and away from, their lost homelands. Arief Budiman’s Last May in Theaters, where ticket sellers in Jakarta and Gwangju stay at the cinema counter while uprisings rage outside, remembering revolt as an endless war film the screen could never translate. In Elisabeth Subrin’s Manal Issa, 2024, a Lebanese Arab actress revisits questions once posed to Maria Schneider, whose exploitation in Last Tango in Paris hangs heavily over the conversation, while an empty balcony in Beirut under bombardment holds the frame. And Clint Enns’ [ pink noise ], a silent cinematic text in which a black screen and closed captions, drawn from the SRT file, invite spectators to “see” only through imagination. Across these correspondences, freedom/incarceration, exile/homeland, screen/street, text/sense, presence/absence, images move as they resist the isolating frame, loosening vision from sovereignty so that impaired looking may proceed through unusual alignments

24 September 2026, 19:00
Doors open 18:30
100,- Order your ticket through the link in our bio

with
@zeynedada
@elisabethsurbin
@sofia_dona_
@keariefan
@clintenns
@cicek_kahraman

GRIM KINO is a curator-led art film program at GRAC, with screenings every last Thurs

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Tarih ilerlemeci değil aslında. Döngüsel ve katmanlı. Çünkü tarih tam anlamıyla aynı şeylerin tekrar ettiği bir döngü de değil. ⏰🌀 Geçmiş sürekli bugünün içinde yaşamaya bir şekilde devam ediyor. Bazı olasılıklar kayboluyor, bazıları yeniden ortaya çıkıyor, bazıları ise bambaşka bağlamlarda yeni anlamlar kazanıyor. Kıymeti de biraz burada.

Meseleye daha yakından bakmak için sinema yazarı, araştırmacı ve yönetmen Zeynep Dadak'ı dinleyebilirsiniz. Benim Sinemalarım podcast ile Spotify'da! 👆🏽

#SoQueer #SoFeminist @zeynedada

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Benim Sinemalarım'ın yedinci sezonun üçüncü bölümünde Sevgili Zeynep Dadak ile Sally Potter'ın yönetmenliğini yaptığı "Orlando"yu konuştuk. 📻🩷

Dinlemek için Spotify'ı ziyaret edebilirsiniz. 👆🏼

Orlando (Sally Potter, Birleşik Krallık/Rusya, 1992)

#SoQueer #SoFeminist @sallypotter @swinton.tilda @zeynedada @zekicansarisoy

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#MyCinemas Season 7

Only on Spotify. The first episode will be available on 9 July.

Thank you to my beautiful guests!

🎬🩷📻

#BenimSinemalarım Sezon 7

Spotify'da. İlk bölüm 9 Temmuz'da.

#SoQueer #SoFeminist @intimacycoordination.tr @eceturkmutdere @gizbilgen @zeynedada @nurten.bayraktar_ @jandirkbouw @eve_andherkitten @kolos.deniz @yngvillhaga @zekicansarisoy

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Spreading Love❤️‍🔥
Arkadaşlarımız, iyi ki birlikteydik!

Okan Urun’dan yılın şovu. Seni çok seviyorum teşekkür ederiz.

Kokteyl karpuzları

Ceydoşum the gecenin mimarı

Dünyanın en maharetli elleri. Teşekkür ederim arkadaşım

Değerlim

Kübiğim setten yetişir, düğmemi bile diker

Ceyda’nın elleriyle yaptığı şahanelik ve HAPPY PRIDE

Volkan iyi ki varsın teşekkür ederim arkadaşlığın ve müziğin için

My lav

Natalieeee❤️

Jilet, yürüyeceğimiz, dans edeceğimiz yokuşlara, sokaklara ❤️🥂 teşekkür ederiz bizi böyle KUDURTTUĞUN için🙂‍↕️🥁

AYAYAYAYAY

BİRTANEM

let’s go

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𝐕𝐈𝐄𝐍𝐍𝐀 𝐂𝐀𝐋𝐋𝐈𝐍𝐆!📣🎬❤️‍🔥

𝑾𝒆𝒊𝒓𝒅 𝑨𝒃𝒔𝒖𝒓𝒅 𝑾𝒉𝒂𝒕𝒆𝒗𝒆𝒓 by Zeynep Dadak & Çiçek Kahraman has been selected for 𝐕𝐈𝐄𝐍𝐍𝐀 𝐒𝐇𝐎𝐑𝐓𝐒 2026. (May 26–31, Vienna)

The screening will take place on 𝐌𝐚𝐲 𝟐𝟖 at 𝟏𝟖:𝟑𝟎 at 𝐌𝐄𝐓𝐑𝐎 𝐏𝐥𝐞𝐬𝐤𝐨𝐰 𝐇𝐚𝐥𝐥 as part of the 𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝐀𝐭𝐭𝐞𝐧𝐭𝐢𝐨𝐧 𝐋𝐨𝐨𝐩𝐬 program, curated by Max Bergmann in cooperation with Sarajevo Film Festival & 25 FPS.

𝐃𝐢𝐠𝐢𝐭𝐚𝐥 𝐀𝐭𝐭𝐞𝐧𝐭𝐢𝐨𝐧 𝐋𝐨𝐨𝐩𝐬 traces the infinite stream of images, disrupted by political interventions and reflections on the digital attention economy.

🔗More info on the VIENNA SHORTS website.

Commissioned by STRÜKTÜR
Funded by Goethe-Institut

@zeynedada
@cicek_kahraman
@goetheinstitut
@viennashorts
#viennashorts2026

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Images Festival opens tonight!

Among many incredible programs across the week, my two screenings happen back to back tomorrow, Friday April 10, at Innis Town Hall.

UNSTILL IMAGE — 1:45 PM
A sovereign gaze always fixes us within a single frame, one shot, a capture: the prison cell, the border shoreline under watch, the street in revolt, the city under bombardment. The works here both submit to and sabotage that capture. Vision is blurred, saturated, withdrawn, or blacked out. A cinematic rehearsal of freedom for an imprisoned filmmaker. Sight narrowed by exile. Perception torn between street and screen. An actress who withholds her image. And finally, the image’s disappearance into a black field that leaves only imagination.
With Arief Budiman, Sofia Dona, Clint Enns, Çiçek Kahraman, Elisabeth Subrin, Zeynep Dadak. #cigdemmater
Followed by a conversation with Sofia Dona and Clint Enns.

FERAL VISION — 4:45 PM
What does it mean to watch someone else’s watching, when that someone is an eagle, a cockatoo, a forest of unseen eyes whose ways of seeing exceed what our cameras can ever fully capture? The program gathers works that trouble the stability of testimony by shifting attention to perception itself, and closes with Koki, Ciao, in which Tito’s 67-year-old cockatoo, once part of the Non-Aligned Movement’s animal diplomacy, narrates over unseen Yugoslav archives: a caged witness whose body still carries the memory of a regime it could never fully understand.
With Brandon Poole, Carlo Nasisse, Quenton Miller, Richard Ibghy & Marilou Lemmens.
Followed by a conversation with Brandon Poole and Quenton Miller.

Two programs in conceptual romance. Come to one, come to both. So much more across the week, full program at imagesfestival.com
@imagesfestival
Curated during my Curator-in-Residence alongside w @kieraboult @sprngchckn
Visuals are from amazing catalogue designed by Osman Bari @ozmiumbarium

@imagesfestival
#cigdemmatereözgürlük
@keariefan
@clintenns
@cicek_kahraman
@elisabethsubrin
@sofia_dona_
@zeynedada
@_brandon.poole
@carlonasisse
@richardibghy
@mariloulemmens
@digitalartsresourcecentre
@vivomediaarts
@menafilmfestival
@uoftculturetech

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Commissioned by STRÜKTÜR, the video essay
“Weird Absurd Whatever” (2025) by Zeynep Dadak and Çiçek Kahraman is accompanied by a newly written text by Övgü Gökçe.

Emerging from the unlawful imprisonment of film producer and journalist Çiğdem Mater, the work shifts away from representing imprisonment to engage the affective condition of waiting—understood here as a shared political and emotional space.

Situating the work within an expanded field of the essay film, Gökçe reads “Weird Absurd Whatever” as a dialogical “thinking form”, moving from desktop documentary aesthetics toward speculative and Al-mediated image practices.

Positioned at the intersection of image-making, solidarity, and rehearsal, the work reflects on how artistic practice can sustain presence under conditions of enforced absence.

Now available in STRÜKTÜR’s Reading Room.
🔗Link in bio!

Image: Zeynep Dadak & Çiçek Kahraman, “Weird Absurd Whatever” (2025), film still.

@ovgu.gokce
@zeynedada
@cicek_kahraman
@goetheinstitut

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Moments from our talk held at Nil Filmhaus Berlin on January 30, 2026 bringing together directors whose work builds bridges between Turkey and Germany.

With the participation of Ayşe Polat, Cem Kaya, Zeynep Dadak, Yüksel Yavuz, Özlem Sarıyıldız, and Aysun Bademsoy, and moderated by Senem Aytaç, we discussed the relationship between migration, memory, and representation through personal and cinematic experiences.

Organized by the “Ethical Media Representation” working group of the *Against Screen Extractivism: Slow Production and Spectatorship* research project, conducted in collaboration with Johannes Gutenberg University and Koç University and supported by the Volkswagen Foundation.

2026, 30 Ocak’ta Nil Filmhaus’ta gerçekleşen, Türkiye ve Almanya arasında bağ kuran yönetmenleri bir araya getiren söyleşimizden kareler.

Ayşe Polat, Cem Kaya, Zeynep Dadak, Yüksel Yavuz, Özlem Sarıyıldız ve Aysun Bademsoy’un katılımıyla; Senem Aytaç’ın moderatörlüğünde göç, hafıza ve temsil arasındaki ilişkiyi kişisel ve sinemasal deneyimler üzerinden birlikte tartıştık.

Johannes Gutenberg Üniversitesi ve Koç Üniversitesi iş birliğinde yürütülen ve Volkswagen Vakfı tarafından desteklenen *Against Screen Extractivism: Slow Production and Spectatorship* araştırma projesinin “Etik Medya Temsili” çalışma grubu tarafından düzenlenmiştir.

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