Considering the conditions of the period in which it was filmed, it is a fairly realistic film. The location is not specified, but I think it is somewhere around Adana. It is a rice field where female agricultural workers are working. A ruthless landlord and a son who is just as evil as his father. One of the female workers, who stands out for her beauty (Melek Görgün), catches the attention of both the landlord and his son. She flees due to the pressure she faces, and her path crosses with that of a young man (Salih Güney) who has suffered at the hands of the landlord, had his land taken away, and lost his sister. They fall in love, and the events lead to a tragic ending. In keeping with classic Yeşilçam screenplays, you expect Salih Güney to avenge his sister's death and reunite with Melek Görgün (or for the woman to die).
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
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