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A beautiful girl, Snow White, takes refuge in the forest in the house of seven dwarfs to hide from her stepmother, the wicked Queen. The Queen is jealous because she wants to be known as "the fairest in the land," and Snow White's beauty surpasses her own.
Karanlıkta Uyananlar (1964) tells the story of a worker's strike in a factory. This strike leads to a class conflict between the workers and the factory owners.
The abandoned Fosforlu sing and dance in the streets to survive. She run into the once famous singer Kemal, who now is blind and have lost his memory. The two start to perform together. A surgeon enjoying their act offers to help Kemal out of his misery.
Three men live in an abandoned building and try to eke out a living by pooling their meagre resources. They come upon a lonely blind girl one night, befriend her, and take her in as their guest, pretending they are rich. They learn that 800 lira will cure her blindness. One of the three decides to get the money by any means necessary, because he has fallen in love with her.
Ra'na dreams of owning a motor boat. But she can't buy it by fishing and selling the caught fish...
The film is about the love story between Murat and Selma. Murat is a masseur loved by his clients. Her biggest goal in life is to make her daughter Ebru happy. One day, he is assigned to the physical therapy of Abbas, one of the bosses of the underworld. He meets Selma, Abbas' daughter. The two, who did not get along at first, fall in love with each other over time. But the struggle between Abbas and his rival Kamil irreversibly affects Murat and those around him.
An example of social realism in Turkish cinema, the story follows a bus driver who takes side of the poor who has been exploited by a rich man with the promise of making new apartments for them.
Murat, who started a legal battle against his relatives with lawyer Sevil, begins to question his life in this process.
Ertem Göreç
Ertem Göreç was a distinguished Turkish film director, screenwriter, and editor, recognized for his contributions to Turkish cinema, particularly in the social realist genre. Born in Bursa, he left his secondary education to pursue a career in sports, becoming a national basketball player. His passion for cinema led him to work as an editor under Orhan Atadeniz, where he honed his technical skills over a decade. In the 1950s, Göreç served as an assistant director to prominent filmmakers such as Orhan M. Arıburnu, Atıf Yılmaz, Abdurrahman Palay, and Memduh Ün. He made his directorial debut with Kanlı Sevda in 1960. His most acclaimed work, Karanlıkta Uyananlar (1964), is considered a milestone in Turkish social realist cinema, addressing labor issues and workers' rights. Throughout his career, Göreç directed numerous films that explored social themes, leaving a lasting impact on Turkish cinema. He passed away in Istanbul at the age of 89.
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