The Enemy (Turkish: Düşman) is a 1979 Turkish drama film, directed by Zeki Ökten for Yılmaz Güney, featuring Aytaç Arman as Ismail an overqualified young Turkish worker who unable to find employment is reduced to poisoning the local stray dogs and begging his father for part of his inheritance.
Ismail is out of work despite am obvious willingness to do almost anything to earn enough to provide for his family. He is too well educated for the jobs he hopes to find, but not well enough connected to find the work he is capable of doing. He joins the labour market (much like the colonial slave markets of the 18th century) daily, only to return to his beloved and beautiful wife demoralized and without money. His wife, her mother, and their baby are totally dependent on him, so he submits to two humiliating tasks: poisoning the local stray dogs and begging his father for part of his inheritance. —Wikipedia
Zeki Ökten (August 4, 1941 – December 19, 2009) was a Turkish film director.
He was born on August 4, 1942 in Istanbul. Zeki Ökten was interested in theatre during his education at the Haydarpaşa High School. He entered his filmmaking career in 1961 as the assistant director of Nişan Hançer directing Acı Zeytin. Zeki Ökten directed his first film Ölüm Pazarı two years later in 1963. However, he stepped back to the post of assistant director as the success expected did not come. He worked then nine years long as the assistant to the renowned directors like Ömer Lütfi Akad, Halit Refiğ, Memduh Ün and Atıf Yılmaz.
With his films Kadın Yapar in 1972 and with Bir Demet Menekşe in 1973, written by Selim İleri, he gained recognition. He was honored at the Golden Orange Film Festival in 1977 for directing the film Kapıcılar Kralı.
Real success came with the films Sürü (1978) and Düşman (1979), both written by Yılmaz Güney. Düşman won an Honourable Mention at the 30th Berlin… read more
Güney and his work were almost entirely unknown outside of his homeland Turkey until his 1981 escape from imprisonment in Turkey and his “discovery” the following year at the Cannes Film Festival for his autobiographical screenplay for Yol (1982), the festival’s grand prize winner. Born in 1937 in a village near the southern city of Adana, Güney studied law and economics at the universities in Ankara and Istanbul, but by the age of 21 he found himself actively involved in filmmaking. As Yesilcam, the Turkish studio system, grew in strength, a handful of directors, including Atif Yilmaz, began to use the cinema as a means of addressing the problems of the people. Only state-sanctioned melodramas, war films and play adaptations had previously played in Turkish theaters, but these new filmmakers began to fill the screens with more artistic, personal and relevant pictures of Turkish life. The most popular name to emerge from the Young Turkish Cinema was that of Yilmaz Güney. Güney was a… read more