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  • 3.3
Different temporalities spatially co-exist in a Turkish coastal town: the linear time of history and daily life, the cyclical time of seasons and days and the tourist time that stands still. A father and his grown children of unnamed nationality, make their way through a landscape where ancient and modern histories transmute into material spectacle and the nights are filled with incessant entertainment. Amidst remains of mutated cultures, bodies are caught in rituals of sun worship, stagnating in a state of passivity. Disco-lights permeate all, and turquoise toenails float above the city. Millennia old columns are submerged in swimming pools. The characters visit ruins of civilisations increasingly more contemporary: starting from millennia old Lycian temples, to a greek village abandoned during the post WWI extradition, to half-built villas abandoned during the recent financial crisis (each of them now a tourist destination), to be experienced in the present, signaling a temporal flattening across the different pasts, their cyclical nature and their synthesis in the present. The eternal is now. At a shipyard on the edge of town, a group of men are building an ark, laborers actively asserting meaningful influence upon their surroundings, they may or may not achieve salvation as the film and the world around them all are disintegrating toward an Atlantean End.

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