This project came out of three cronies who were looking for 'other' ways of non-violent, direct and positive confrontation against the economic, military, cultural and scientific attacks of global capital. After the occupation of many countries and the wars, the project gained even more importance. We didn't want our lives to be surrounded by wars. We should at least spare a minute of our lives for peace. We could not only dream of "Peace", but also voice it and make a 1-minute film about peace. And with these feelings, the 'CINEMA PROJECT FOR PEACE' began, in which we can include 1 minute of others. In the intervening two years, we tried to carry out everything with solidarity. Not by competing or fighting. We thought we needed only one thing: Peace! You could have a relationship, be inspired by an event, include images from the peace action or whatever you want, but we wanted it to be nothing but peace, because war was unbearable at all!

Well, would cinema remain an art that was only the work and occupation of a certain group? Couldn't we talk about lasting peace on earth against the presented war grammar? However, we insisted that cinema is a tool and purpose that can transform life. We would both want peace and make a movie. Anyone who wanted to, without any preconditions other than being in favor of peace, should be able to participate in this project. Even if they did not have a script or camera, many people wanted to take part in this project with us.

At first, making a one-minute movie was thought to be very difficult. Yes, maybe so, but 200 people, 99 of them children, die in 1 minute, almost as long as these lines are read, due to hunger, disease and wars. Yet, with only a fraction of the nearly two million dollars per minute devoted to armaments and warfare, could these not be prevented? Is it harder to point this out than to be responsible for it?

To put it bluntly, the world, if not ours, needed these 100 films, at least 100 minds talking about peace, talking about peace, thinking about peace. This project brought us to other people who dream of peace as well as to the movies. To people who understand each other, and who are determined and courageous to create something with each other.

We perceive making a movie and then watching it as daydreaming and then sharing them with others. We wanted to bring together the "peace" dreams of film senders. If those who could not send a film dreamed of "I wonder what I can shoot about peace", we hope that our dreams will meet in life, even if they are not on the screen. In addition, those who bring peace to the forefront not only while making movies, but also in their lives unknowingly make our lives better.

Cinema for Peace entrepreneurs are also after the parts of the films sent to the project that are not reflected on the screen or do not appear on the screen. So we want to see how sincere you are in your thoughts on the film. Do we (we) live like the peace movie we shot? Or do we reproduce the hegemonic system over and over again, and actually contribute, albeit indirectly, to wars that 'appear' in a different place and in a different way every day?

In fact, everything from the announcement of the project to the set ups, the effort spent, the gathering and screening of the films sent, in other words, this process and all the relationships in this process, the thoughts circulating in the minds and mouths of what kind of a movie I can make, to the insults that started that making a film does not bring peace to the world. every effect created was nothing but an action in the name of peace. Apart from asking for a film to be sent to a film project, we underlined that war is only a part of the game, that global capital continues to attack economically, scientifically and culturally every day.

And we tried and tried to stay away from the habits 'accustomed to' by conventional film festivals and to keep the participants away. Since we are not in favor of a system with winners and losers, we did not compete neither films nor individuals. We showed the movie producer, whose minds are clouded by the competition culture, that people can gather around an idea without competing/competing.

And interestingly, we did not rely on anything other than our own individual power while doing these. We have not received a single penny from any domestic or foreign firm, company, and especially from the funds, whose usefulness is no longer indisputable. We completed this project with almost zero budget.

We promoted the project through the site barisicinsinema.org, which was given by another participant to support us. Except for a few, we did not know the participants. We carried out all communication from the e-mail group. We shared every idea sent to us and evaluated every suggestion. Participants, who had never known each other before, shared their knowledge, materials and efforts with each other. In addition, acting, finding a place, making music, etc. In such cases, help was requested on the one hand and met on the other. As a result, it became possible, for example, for someone without a camera to make a film. Many of the movies you will watch were made with this method. Lack of material is no longer an excuse. The materials in the houses of the participants were useful to someone else.


We argued that those who do not deal with cinema professionally, even those who did not attend film school, and even those who do not have a camera, could make films.

We did what no one else could (can't) do, in order to enable those who do not have the means to make films to be able to make films. For the first time in Turkey, we organized a free and open cinema camp in Bahçeşehir. More than 100 people, 60 of whom were accommodated, participated in this camp, which was created entirely with personal support, for 5 days and 5 nights. From editing systems to cameras, from musicians to actors, it was possible for them to meet whatever is needed for a movie. Karagüneş and Siya Siyabent music groups prepared free music for many BARIŞ films during and after the camp.

Moreover, it was ensured that not only people from big cities and certain age/income/gender groups, but also, for example, a primary school student and a 60-year-old housewife could participate in the project with her film.

And our filmmaking experience on this project has shown that film is not just about the director. It is the product of many collective thoughts and efforts. Therefore, we cannot answer the question 'who is one of the famous directors', which we are asked from time to time, because we find the concept of both famous and director to be controversial. On the contrary, a significant part of the films sent to this project are the first films of the directors.

And since we have differentiated the forms of film production, then the way they are watched must also change. We had the opportunity to show all the movies in most of the cultural centers as well as the big movie theaters. We met with the cinema clubs of different universities through our project.

Even we do not know exactly where the films are shown, as we have released the duplication and 'public display in public places' of the films on CDs, DVDs. Nevertheless, we can say that we have reached a very large area and audience outside the city centers.

We tried to bring the cinema, which is confined to big cities, big halls and big concepts, out to the streets where it belongs. We wanted to see how we were on our own, what we could do. Here, as it can be understood from the list of screenings below, we wanted to show some sentences to the world.

Hey, how do you look?

Barışın Renkleri (Duygu Yıldırım) Küçük Asker (Metin Koca) Bir Dakika (Halit Soysal) Biz Yaşarken Barış (Firuz Kutal) Zaman-la-ma (Zuhal Çetin Özkan) Leke (Taylan Pinçe) Barış Güvercini (M. Eser Eken) Barış Duvarı (Erdinç Özkapı) Savaşma (Güçlü Gülan, Gözde Gülan ve Ozan Akıncı) Barışın Bir Başka Yüzü (Seyfi İşman) Çark (Denizcan Yüzgül) Son Dakika (Yalçın Çıdamlı) Oyun (Bingöl Elmas) Kurmaca (Dilek Çolak) Sessiz Kriz (Barış Özkaya) Barış Yollarda (Başak Ertür) Hangi Yarısı (Gürşat Özdamar) Balta (Zeynep Arıkan) Taşıyıcı (Güneş Terkol ve Özgür Erkök) Ve Savaş Bitti (Nebahat Arslan) Son Pompacı (Hamdi Cemal Varol) Barış Çok Sıkıcı (Anı Sağkan, Can Özkaplan, Süreyya Çakır, Yücel Ünlü) Borsa-Barış-Madalya (Canol Kocagöz ve Şakir Uysal) Masal (Aslı Büyükköksal) Barış, Hımm (İlksen Kısacık) Güvercinleri de Vururlar (Murat Güngör) Strateji (Hamit Annak) Sevgilerimle Frosso (Koray Tarhan) Savaş Boktan Bir Şeydir (Nur Dönmez) Hayattan (Gökçe Ergün) Saklambaç (Işıl Sönmez) Barış Yerli Yerinde (Deniz Kahveci) Yüzyüze (Doğuhan Uluca) Heykelin Düşü (Kıvanç Sezer ve Yetkin Meriç) Savaş (Jan Fuchs) Barış (Jan Levent Claas) 11 Eylül (Denizcan Yüzgül) Bilgi Kitabı (Betül Çelik) Zemin Sıfırın Altı (Gizem Yarbil) Bıcır (Uğur Gençkan) Deccal (Veysel Diker) Nehir (Burcu Öztürk) Metal Çiçekler (Cenk Telimen) Kabus (Işın Buzcu ve Mihriban Çumralı) Küre (Yiğit Kocagöz) Barışın Rengi (Aydın Erel) Kirli Petrol (Volkan Kavas) Sapık (Nurcan Elver) Yeni Dünya No:2 (Sabrina Aguilar Pena) Barış Gemisi (Yuang Shin, Johanna Stratton) Eski Asker Arkadaşları (Burcu Canaçık) Barış Bandosu (Barış Bandosu) Mayın Tarlası (Videa Kolektifi) Unutulan (Nasa Seif Said ve Nur Akalın) Emir (Gökçe Akgül ve Özgür Erkök) Kararlar Fark Yaratır (Andres Perez ve Barış Yağcı) 11 Eylül (Sakine Çil) Birleşmiş Amerika (Selda Taşkın) Kurşun Asker (Mehmet Hacıosmanoğlu) Sade'ce (Tülin Dağ) Seyirlik (Kıvanç Babacan) Savaşa Karşı Ses Çıkar (Levent Duran) Büyük Balık Küçük Balık (Güney Çalışkan) Barış Meclisi (Jagdish Gandhi) Önüm Arkam Sağım Solum Ne (Fato Bilgin) Barış İyi (Müjgan Çetindağ) Çizgi (Cenk Telimen) Yüzbaşı Aykan (Mutlu Tepe) Elele (Osman Zorlu) Sek Sek (Akdeniz Üniversitesi Sinema Kulübü) Ölen Ölür (Mustafa Alibaşoğlu) Haydi Oynayalım (Fatih Yalınkılıç) Domaljin (Zeynep Berik) Bu Fotoğraflarda Sen Neredesin (Funda Gülay) Barış İçin Devrim (Devrim Çetinkayalı) Beyaz (Adem Yıldırım) Savaş Kötü Bir Şey (Bahar Ünlü) Düşüş (Mehmet Oflazoğlu) İki Yumurta Bir İşgal (Zeynep Berik) Kadınların Barış Yolculuğu (Melek Özman) Oyun (Dilek Aydın) Barış (Murat Kaymak ve Emre Küçükosman) Savaşın Neresi İyi (Yeşim Ağaoğlu) Oburluk (Güneş Terkol) Sam Amca'nın Albümü (İnci Aysan) Kapı (Murat Kılıç) Günışığı (Evin M. Taş) 01 Mart 2003 (Mehmet Ali Güzelgün ve Oktay İnce) Onlar Barış'tılar (Özlem Süer) " - " (Özlem Mutlu) Tatlı Savaş (Akgün İlhan) En Büyük Asker (Kenan Tiryaki) Özel Mülkiyet (Emrah Dönmez) Son Ölü (Bahar Kılıç) 60 Saniye (Kemal Çipe) Evdeydik Oynuyorduk (Oktay İnce) Uygarlık Çatışması (Necmi Bayram) Dil Sokması (Tennur Baş) Renklerin Kardeşliği (Barış Özkaya) Azrail'in Direnişi (Evren Teoman)

15 Mart 2005 Saat:13:00

Ege Üniversitesi

Edebiyat Fakültesi Konferans Salonu

İZMİR

18 Mart 2005 Saat:15:30

Çukurova Üniversitesi

Mithat Özhan Büyük Anfi

ADANA

19 Mart 2005 Saat: 19:00

Baraka Kültür Merkezi

(Her iki yakadan katılımla) 

Lefkoşa-KIBRIS 

20 Mart 2005 Saat: 15:00

Tiyatrom Turkisches Theater

Berlin-ALMANYA

20 Mart 2005 Saat: 17:00

Yapı Sanat Evi

İstiklal Cad. Rumeli İşhanı 88/35 C Blok 3. kat 

Beyoğlu-İSTANBUL

20 Mart 2005 Saat: 18:30

Desem (Dokuz Eylül Üniversitesi)

Cumhuriyet Bulvarı No:144

Alsancak-İZMİR

20 Mart 2005 Saat: 21:30

Zile TV (Akşam Haberleri Sonrası) 

TOKAT 

21 Mart 2005 Saat: 20:00 

Boğaziçi Üniversitesi Mithat Alam Film Merkezi

İSTANBUL 

24 Mart 2005 Saat: 13:30 

Orta Doğu Teknik Üniversitesi

MM25 Anfisi 

ANKARA 

19 Nisan 2005 Saat: 18:30 

İletişim Kitabevi Salonu

Kıbrıs Şehitleri Cad. No: 48 a-b 

Alsancak 

İZMİR

TARİH VE SAATLERİ KESİNLEŞMEYEN 

GÖSTERİM YERLERİ:

Diyarbakır Büyükşehir Belediyesi

25-31 Mart Sinema Günlerinde

DİYARBAKIR

Akdeniz Üniversitesi

Sinema Kulübü 

MERSİN

Aristotle Üniversitesi

Selanik YUNANİSTAN

Tekirdağ Tabip Odası

14 Mart Tıp Bayramında

TEKİRDAĞ

Sinematek Derneği (sinematek.org) 

Çankaya Bld. Çağdaş Sanatlar Merkezi 

Çankaya ANKARA 

Gazi Üniversitesi

Mimarlık ve Mühendislik Fakültesi

Yedinci Sanat Sinema Kulübü

ANKARA

Afsad

ANKARA

Toplumsal Araştırmalar Kültür ve Sanat İçin Vakıf

Kadıköy Şubesi

İSTANBUL

Innsbruck

AVUSTURYA

Ingelmunster

BELÇİKA 

KANADA