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The film tackles old-school chauvinism as it manifests itself in jingoistic nationalism and unabashed misogyny. What the 36-year-old Turk seeks to examine is tyranny by force of numbers, and how cultural values are perpetuated across generations without solid voices to call them into question.

Expertly constricting the twentysomething within the dual confines of fixed camera setups and the tight corridors of his family’s apartment, Yüce makes palpable Mertkan’s discomfort at being fitted to the Procrustean bed of paternal expectations.

So “Majority” is clearly more than a Turkish slacker-film or a condemnation of men. Its persistently oppressive tone speaks for itself.

With its oblique storytelling, urban setting, and grubby sex, the pic shares aesthetic DNA with some of the arthouse work being done by the currently hot territory’s bigger names, although occasional humorous moments suggest Yuce may have a lighter sensibility.

The basically typical melodrama of rich boy falling for wrong girl turns here into a cautionary coming-of-age tale Turkish style, stressing male chauvinism, female discrimination, social injustice and corruption, with Yuce throwing in references to taboo subjects in Turkish society, such as the Armenian genocide.