After losing her husband, Sultan, who is afraid of being left alone, tells her children that she wants to remarry immediately. However, her children do not find this appropriate, as only one day has passed since their father's death. Her son Nevzat, who has a traditional perspective, believes that no one in the small town will approve of this. Although her daughter Reyhan tries to respect her mother's wish, she thinks it is a decision made too soon. Despite her children's objections, Sultan does not give up on her desire. While searching for a suitable spouse, she also enters into business ventures, doing everything that people said "a woman cannot do." She converts her home into a guesthouse and manages it, opens a stall in the market, and competes with male vendors. Sultan’s attitude sets an example for other women in the town, who also begin to lead independent lives and work in the guesthouse and market like Sultan. Sultan’s struggle will also lead to the organization of women in the town and the development of their own identities.

He is a boss who dedicates his life to grow up the textile empire he inherited from his father and does not hesitate to follow ruthless methods for it. He decides to choose a different life after a heavy traffic accident.

You know the feeling. It feels like time slows down as your eyes meet a stranger’s. Then you walk pass each other, neither of you looking back. That’s what happened with Pelin and Engin. Lo and behold, they open their eyes in the same bed. And you may want to brace yourself for this one, as a two-year married couple! It must be a dream. No, a nightmare. But now, to wake up they must fall in love.

Mahsun Supertitiz is an unemployed homeless man who steals cars at night so that he can sleep in a heated place during the winter. Mahsun lives in Rumelihisar, an old section of Istanbul, and makes ends meet by getting the local fishermen to help him. Mahsun loves the cars he robs, cleans and polishes them, and drives them through the streets of Rumelihisar during the daytime.

Ever since Agnès Varda's Cléo passed the agonising hours from five to seven waiting for a medical result in 1962, world cinema has often set women on an ambulatory path, either escaping from, or coming to terms with, a looming health crisis. This event is always a powerful catalyst: it forces a reconsideration of one's current, sedimented life situation, and poses diverse options for a starkly different future.
Reyhan in Suddenly is a very modern heroine: she walks out on her partner and goes into hiding, spying on her family members and going so far as to take a menial job in a chintzy Istanbul hotel. Her life opens up to random, surprising encounters and unexpected friendships. All the while she is haunted by her long-lost career as a figure skater and tormented by her rapidly deteriorating sense of smell.
Acclaimed photographer Melisa Önel's second fiction feature evokes – with a reverential nod to Krzysztof Kieślowski's Blue (1993) – a kaleidoscope of moods and sensations, as filtered through the sensitive, largely wordless subjectivity of Reyhan. She is like a phantom, blending in, appearing and disappearing amidst the textures and materials of urban existence. Defne Kayalar's performance captures both her solidity and ephemerality.
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