The associative links between the lavishness of textiles and Ottoman decadence are old and extensive.

One was the necessity for visual reduction and stylisation to the historical setting but also a wish to introduce an aspect of theatrical conceptuality into the standard motion picture design, preferably without inflicting too much violence to the general contours and atmosphere of the period. Another reason was the imperative of a thoroughly functional and economical solution - a structure based on the fairly cheap and re-usable material forming a system that would be easy to construct, transport, transform and disassemble.Īpart from fulfilling these technical demands, the shadowy world of labyrinthine curtains seemed like the perfect conceptual backdrop for illustrating the limiting and overly protective realms of Turkish seraglios as well as for suggesting the flimsy and increasingly unstable socio-political structure of their vassal dominions. Tracing down the opulent flow of the woman’s elaborate dress, we are plunged by the trick of the camera into a strange new world woven out of fabric, a dreamlike landscape of her memory. The idea to build the entire film set around the motive of the curtain, through the systematic and elaborate deployment of various fabrics, imposed itself out of several reasons. The story unfolds around the recollections of a woman who spent her youth waiting on the balcony for the departed revolutionary lover (the legendary Kemal Ataturk, „father of the Turks“) to return from war. The film’s historical context is the Macedonian city of Bitola in the time of the collapse of Ottoman Empire and in the wake of the national uprising. Director: Aleksandar Popovski Production Design: Numen + Ivana Jonke

Dantes inferno torrent puppets