IFFR
And the Rest Will Follow, Turkish director Pelin Esmer’s first fiction film in seven years, explores the relationship between personal aspiration, storytelling, and artistic creation. The film introduces us to Aliye, portrayed by Merve Asya Özgür, a 25-year-old housekeeper in the small Turkish town of Söke. Dissatisfied with her monotonous life and a stifling home environment, Aliye finds solace in the world of cinema, particularly in the works of renowned filmmaker Levent, played by Timuçin Esen, and seeks to forge a connection with him.
Original Title: O da bir şey mi
Directed by: Pelin Esmer
Year: 2025
Country: Turkey, Bulgaria, Romania
Length: 114 minutes
The film’s narrative starts as Söke hosts its annual film festival, with Levent being the honorary guest. Aliye uses this opportunity to connect with the filmmaker after perceiving him from a distance, initially introducing herself as a lawyer specializing in serious criminal cases, something we later find out is a fabrication that shows her Aliye’s yearning for a more significant existence. This act of self-reinvention is interrupted, revealing the fragility of the persona she attempts to project.
Levent, on the other hand, is depicted as a filmmaker caught in personal and professional apathy. Amidst finalizing his divorce and casting for his latest project, he remains indifferent to the world around him. At first, he reacts apathetically to Aliye’s anonymous phone calls, showing little interest in her attempts to reach him. However, as she continues to create a narrative that reflects her life, or rather what she claims her life to be like, Levent becomes increasingly drawn in. Eventually, he incorporates elements of her story into his own artistic process, illustrating the way artists are shaped by the experiences and stories of others. This dynamic further reinforces the film’s central theme of blurring reality and fiction, as Levent’s artistic engagement with Aliye’s narrative mirrors the way films are often built upon layers of interpretation, fabrication, and borrowed truths.
Aliye’s initial pursuit of Levent carries an unsettling edge, almost verging on obsession. She blurs the lines between who is being watched and who is watching, challenging the conventional dynamic where the filmmaker, as the artist, is usually the observer. Here, it is Aliye, an audience member, who takes on that role. Yet beneath this almost stalker-like fixation, there is a raw sincerity in her desire to connect with him to tell someone about her ambitions, an earnestness that ultimately resonates with Levent. What begins as an apparent one-sided fascination gradually transforms into a genuine exchange, revealing the complex ways admiration and influence intertwine in the creative process.
Esmer’s storytelling connects themes of loneliness and unrealized ambition to the art of storytelling and creation in cinema. Aliye’s obsession with Levent is not rooted in romance but in a need to be seen and heard. The film also offers a meta-commentary on the filmmaking process, blurring the role between artist and spectator. Levent’s search for an unknown actress for his lead role and his interactions during the casting process provide insight into the often impersonal nature of the industry. Aliye’s evolving self-presentations, first as a lawyer, then as a service worker, mirror the fluid identities actors adopt, blurring the lines between reality and performance.
Rather than presenting herself as she is, Aliye shapes a version of herself that aligns with where she wants to be, using storytelling as a vehicle for reinvention. This performative aspect becomes a means of escapism, illustrating how people use narrative to transcend their present circumstances. Esmer suggests that in storytelling, art, and film, factual truth may not always be as significant as emotional truth and its impact. This revelation is felt not just by Aliye, but by Levent, whose own understanding of narrative and creation is transformed through their interactions.
While the film’s layered storytelling demands attentive viewing in order to fully comprehend its complex narrative, it offers a rich exploration of character and narrative. Esmer’s direction, complemented by Barbu Bălășoiu’s colorful cinematography, creates a visually and emotionally resonant experience. However, some plot strands, such as Levent’s short film project involving a local boy, may feel peripheral to the main narrative at times.
And the Rest Will Follow is an examination of the stories we construct, the realities we strive to experience, and the way they impact others. With this film Esmer reflects on the nature of truth, fiction, and the spaces in between.
“And the Rest Will Follow” premiered at the 2025 International Film Festival Rotterdam as part of the festival’s Harbour selection.
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