2017, 13min, HD, 16:9, colour, stereo

Music: Beatrix Curran
Performance: Carla Rihl

The hills of Istanbul are made for lovers. They are places of admiration, contemplation and melancholia. Since 1950s they frame Turkish melodramatic film narratives. And they have become a prime location within the collective imagination to romanticise about the future. The hills, once commons, are now dominated by concrete constructions. The liberal economic policies of previous and present governments have managed to transform public landscape into private real estates, speculations of the future in a different fashion. The film depicts the newest bridge on the Bosphorus, which has been built regardless of all the protests of the environmentalists, architects, civil engineers, urban planners, and people of Istanbul. It is located in the north of the city where the Northern Forests have been plundered by the politics of the government for its own hegemony. And the landscape has been turned into a concrete block where it is impossible to find a spot without a construction site.

In KORİDOR, the camera frames the sky, it wanders around the clouds and unsuccessfully attempts to focus on the deck, which is hanging from cables that pass over the tower. The vertical suspenders vibrate. Images of tension narrate the film score. The sea passage becomes the frame of the camera, and the camera moves work as the montage. KORİDOR experiments with transition, it deconstructs the tedious metaphor of the bridge as a connector and reimagines it with a sense of claustrophobia and melodrama.