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class teenagers experiencing the in‐betweenness in life; moving away from childhood and becoming
adults, yet belonging to neither of these categories at the time being.
The film, by many commentators and critics, is referred to as a youth film, and in fact was
received the “Best Screenplay” award by the Antalya Golden Orange jury (in addition to “Best First
Film” and “Best Editing” awards) for narrating the youth and issues of youth in an original way.
Moreover, it is selected for the 64 th Berlinale Generation films‐ a section devoted to children and
young people as well as a number of other international film festivals with a youth theme. Despite
the fact that the film has not been categorised or advertised as a feminist film yet, in my opinion
what makes this film a unique example of the New Cinema of Turkey is the feminist narrative and the
focus, which is not mentioned explicitly by the film critics, or in festival selections. However, it should
also be noted that the directors did not hesitate to mention their feminist concerns and approach for
a number of times during the interviews.
The film, as I will elaborate on throughout this piece, is not only about women but also is written
and directed by women. The two filmmakers, Zeynep Dadak and Merve Kayan, identify themselves as
feminists, which I believe provides a strong framework for the narrative of the film. There is an
increasing number of women directors both in fiction and documentary film making circles in Turkey
and within the New Cinema of Turkey considerable number of films seem to focus on women in
unconventional ways, narrating stories of women in various settings. 4 Within this context, Mavi
Dalga is an alternative feminist film, which counters and responds to the status quo in terms of both
content and method of narrative. It not only challenges the patriarchal representation of women but
also expands the borders of feminist film narrative by claiming the mundane lives of young women
worthy of a film. Moreover, the mundaneness is presented in such an empowering manner, rather
than trapping women into the traditional, stereotypical roles in many other films as women being the
victims of violence, rape, harassment or fate. The film is criticised by a few commentators for lacking
a strong script with a dramatic conflict. 5 What I argue is that the lack of dramatic conflict is exactly
what makes Mavi Dalga present a feminist narrative. That is to say, the film denies the need to
create a heroic existence of protagonists and a tension unfolding within the given cinematic time.
Instead, it is focusing on the unaccustomed narratives of a few, young, middle class women in a small
city and presents their ordinary life in a cinematic aesthetic.
In Mavi Dalga, the central protagonist Deniz, is a 17‐ year old woman, with a few female friends
she regularly hangs out. She has a younger sister she accompanies regularly to the skate‐ring placed
in a shopping‐mall; a mother and a father –who are presented as typical middle class parents; a male
friend with whom she develops a romantic and sexual relationship in due course. She also has a
crush on one of her teachers, Fırat, at high‐school. All these characters are living their ordinary life
but we encounter them in regards to their relationship to Deniz, which by definition gives us the
young woman’s perspective regarding the narrative. Deniz’s relationship with her friends includes
confiding in each other on issues such as sexuality, family, aspirations about future etc. Despite the
fact that there seems to be a tension between Deniz and Perin (a new classmate moved from
another city recently) at the beginning of the film they manage to become friends, and moreover,
show solidarity in cases of crisis. This little side‐story provides an alternative narrative to the
mainstream stereotyping of women being the worst enemy of each other, experiencing the tension
and struggle to gain the attention of desired male character, and the rivalry inherent to womanhood.
Additionally, the account of Deniz’s crush on Fırat, an older, and hierarchically positioned male
character, is narrated in such a way that it provides an empowered female character. Deniz, for some
time, is desperate to attract the attention of Fırat, and at one moment she manages to develop a
rather intimate situation with him, having a chat at Fırat’s flat. Finally there is a spark, and Fırat leans
to kiss Deniz and Deniz stops him and moves out of his flat. Not in such a way to imply running away
or escaping in fear and desperation but in such a way to emphasise a controlled and deliberate
manner, assuring the audience that, it was not what she wanted, hence she did not allow it to
happen and left without losing control.
Yet, sexuality is not presented as a taboo in Deniz’s life either. At a later point in the story‐line,
she chooses to have sex with her friend Kaya, whom implicitly flirted with Deniz from the very