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Innocence (1997)

Masumiyet (original title)
Yusuf is released from prison after serving a ten-year sentence. He is scared of life outside as he goes to an address given to him by another prisoner.


Zeki Demirkubuz


Zeki Demirkubuz
16 wins & 1 nomination. See more awards »


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Cast overview, first billed only:
Güven Kiraç Güven Kiraç ... Yusuf
Haluk Bilginer ... Bekir
Derya Alabora Derya Alabora ... Ugur
Yalcin Cakmak Yalcin Cakmak ... Cezaevi Müdürü (as Yalçin Çakmak)
Iskender Altin Iskender Altin ... Otobüsteki Polis
Dogan Turan Dogan Turan ... Otelci
Melis Tuna Melis Tuna ... Çilem
Ajlan Aktug Ajlan Aktug ... Eniste
Nihal G. Koldas Nihal G. Koldas ... Abla
Feridun Koç Feridun Koç ... Kasetci
Nazim Gök Nazim Gök ... Enistenin Oglu
Salih Urfa Salih Urfa ... Oteldeki Fedayi
Erdogan Seren Erdogan Seren ... Pavyondaki Adam
Süha Tuna Süha Tuna ... Sorgucu Polis
Apo Demirkubuz Apo Demirkubuz ... Baskindaki Polis


Yusuf is released from prison after serving a ten-year sentence. He is scared of life outside as he goes to an address given to him by another prisoner.

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Release Date:

24 October 1997 (Turkey) See more »

Also Known As:

Innocence See more »

Filming Locations:

Ankara, Turkey See more »

Company Credits

Production Co:

Mavi Film See more »
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Technical Specs



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Did You Know?


The story of 'Kader' is based on the monologue of Haluk Bilginer who plays the character of 'Bekir' the movie 'Innocence'. See more »


Followed by Destiny (2006) See more »

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User Reviews

A milestone in Turkish cinema
11 November 2014 | by eminkarakusSee all my reviews

Zeki Demirkubuz's sophomore feature, Innocence represents a marked stylistic departure from the fragmentation and narrative asymmetry of Block-C and converges towards what would prove to be more quintessential recurring elements within his body of work: long takes, painstaking observation of temps mart, stationary camera framing, the inclusion of a hyper-extended dialogue "ellipses" (or in the case of The Third Page, a monologue) that approaches abstraction, the running television as a surrogate for self-imposed isolation, and a temporal ambiguity that projects an epic scope to intrinsically intimate, chamber dramas. Opening to the shot of a recently paroled prisoner, Yusuf (Güven Kiraç), pleading his case before the warden to remain in jail despite having served out his sentence for murder and attempted murder, arguing that he has lost touch with his sole remaining family (the married sister whom he attempted to kill along with her lover, apparently on behalf of his abusive, but weak willed brother-in-law) and does not have the appropriate support system to survive in the outside world without resorting to crime once again, as the official's door repeatedly springs open for no apparent reason, the seeming randomness of the broken door (a recurring image in his films) becomes a metaphor for the ambiguity of his future. A strange and fateful encounter with a couple forcibly removed from the bus reinforces this sense of destiny. Arriving at a rundown boarding house in a rural town to rest for the evening, he comes to the aid of a little girl stricken with fever after her parents fail to turn up for the evening to claim her. Returning the next morning to the boarding house after their mysterious disappearance, the parents turn out to be the detained couple from the bus, a genial, but mercurial drifter named Bekir (Haluk Bilginer) and the elusive object of his affection, a wanton lounge singer, Ugur (Derya Alabora) (perhaps a wink to Josef Von Sternberg's The Blue Angel), who has been travelling across the country for twenty years (with Bekir ingratiating himself into her company) to be near her imprisoned first, "true" love. With little hope for reconciliation with his embittered and suffering sister, Yusuf returns for an indefinite stay at the boarding house and embarks on a friendship with the volatile couple. However, as Bekir and Ugur's relationship continues to be strained by the cumulative toll of their corrosive dysfunction, Yusuf, too, becomes drawn into their seductive, dark world of mutual self-destruction. Evoking the emotional intensity of an Ingmar Bergman chamber film and infused with the idiosyncratic combination of understated humour and soap operatic melodrama (not unlike the television programs that the lodgers watch each evening at the lounge), Innocence is an elegant, remarkably complex, and painstakingly rendered study of destructive obsessions and codependency. But beyond the psychological addiction that defines Bekir and Ugur's interminable journey to nowhere, Demirkubuz's framing of their relationship through the perspective of innocents, initially, through Ugur's deaf mute child, then subsequently, through the well-intentioned (and all too accommodating) Yusuf, Demirkubuz presents an intriguing portrait, not only of a pliable personality, but also the hypocrisy inherent in abusive relationships, where cruelty is rationalised by a sense of helpless, self-entitled victimisation.

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