organization Art Promotion

LIFELONG Hayatboyu


Turkey, Germany, The Netherlands -2014 – DCP – colore – 102’


Direction: Asli Özge
Screenplay: Asli Özge
Cinematography: Emre Erkmen
Editing: Aslı Özge, Natali Barrey
Set design: Yeşim Bakırküre
Costumes: Nahide Büyükkaymakçi
Cast: Defne Halman, Hakan Çİmenser, Gİzem Akman, Onur Dİkmen
Producer: Nadir Öperli
Production: Bulut Film in co-production with Razor Film, Augustus Film, Kaliber Film, The Post Republic, Sodamedya Interactive
World Sales: Films Boutique



Ela is a respected artist, Can is a successful architect. They live in a stylish house Can designed for them, in one of Istanbul’s most prestigious neighborhoods. Though the passion has mostly gone out of their relationship, mutual respect and admiration keep their
union afloat. That is, until Ela overhears one of Can’s phone conversations… Ela’s cushy life is quickly overshadowed by mistrust. Though she is deeply shaken, she is afraid to acknowledge it. For a little while, true happiness and self-respect take a back seat to comfort and security. Both go into complete denial. Their disillusionment, however, becomes apparent when Ela develops somatic symptoms, bringing her feelings of entrapment to the surface. The marriage is teetering on the edge and Ela struggles with a huge decision.




Aslı Özge was born in Istanbul in 1975 and has been living in Berlin since 2000. Her first theatrical feature Men on the Bridge (2009) premiered internationally at the Locarno and Toronto FF and won the Best Film awards at the Istanbul, Adana, Ankara and London FF. The film was released in several countries including Germany, the UK, USA (MoMA NYC), the Netherlands, and Turkey and has been shown at around 40 film festivals. She recently finished her second feature Lifelong, which is presented in Panorama Special at this year’s Berlinale. Özge is currently preparing her new film All of a Sudden which is presented in the Co-Production Market of 63rd Berlinale.



“(…) While providing segments from their lives, instead of focusing on what they show to others and each other, I tried to focus on what they were trying to hide. Here, sequence shots allowed for complex mise-en-scenes, which in turn made it possible for the audience to spend more time with the characters, to identify more with their emotional changes. In some scenes, this is augmented by an indistinct, sneaky ‘zoom in’ movement to observe the characters better. Generally speaking, no matter how much I worked on the script beforehand, I have a tendency to change it in shooting. I like improvisations and adapting to surprise elements, coincidences and the unforeseen mishaps during filming. In this sense, I believe that long shots provide more room for the actors to perform better.
(…) I selected works of artists I like for Ela’s creations. For example, to show Can’s importance in Ela’s life, I chose Ayşe Erkmen’s
work called Taş (Stoned). (…) Another inspirational work of art was Ann Veronica Janssens’s Blue, Red, and Yellow which inspired me to create the mist installation. (…)”



1996 Lıttle Frosh (short)
1997 Actually (short)
1998 3 etc (short)
1999 Quırck (short)
2000 Capıtal C (short)
2003 Bıraz Nİsan (Little Bit of April)
2005 Hesperos’un Çömezlerİ (Hesperos’ Apprentices, doc)
2009 Köprüdekİler (Men on the Bridge)
2013 Hayatboyu (Lifelong)
In development
All of a Sudden



2013 Berlinale – Panorama Special
2013 Paris Cinema
2013 Istanbul IFF: Best Director, Cinematography