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this movie has a strange place in Turkish movie history. atıf yılmaz is one of the greatest Turkish directors and like one of his previous movies, "aaah belinda" he made a shockingly original, warm, spiritual and funny movie. it is easy to miss his point in this high class drama, but this is a semi-documentary. it shows all the dark corners of beyoglu, istanbul. prostitutes, transexuals and their pimps are the protagonists of this movie, which is quite unlikely for a movie made in "1994". more strange thing is he creates a perfect atmosphere with real transsexuals, gay bars, night clubs. he made you sympathize with all the characters. at some point you will find yourself worrying about how this sad story gonna end. because it gives you a feeling that something tragic is going to happen soon. and there are lot of plot twists. it makes you sad, but not in a cheap way. there are funny moments like main transvestite character "fulya" says a story about his teenage years in canakkale, which is the smaller city he run away. this movie made in 1994 in turkey, which still there is not movie like this in Turkish movie history. even most of the Turkish people don't understand this movie. because it has all the minorities we don't see oftenly on the streets. this is a movie about dark side of a strange, but beautiful country.

Atif Yilmaz directing inspires a feature screenwriter Yildirim Turker within a theatrical stage-to-audience realization. Gece, Melek ve Bizim Çocuklar was a highly skilled artistically epic moving pictures and moving camera. Continuous action/tension/suspense and ever-growing heroine characterization.

Right from the introduction scene, just like the theatrical show business rules, story introduces its own audience an heroine of their own factual reflections. Who are this audiences?

The Istanbul citizens of hope, dreams, goodness, and childish innocence losing their all in the rotten dark alleys of the reality.

Reality is that which, when you stop believing in it, does never disappear. Where does the reality of Istanbul metropolitan life appear at?

At the faces of the most innocent, most poor, most hopeless... Just like the last crusade from Ingmar Bergman's Seventh Seal, the kid who obeys his thief father from Bicycle Thieves or Breathless heroine Jean Seberg of Jean Luc Godard's cinematic theories of:

* Forced loneliness and self-destruction due to someone else's selfish nature and stubborn mistakes.

Minute mark 8m and 40sec, when at the discotheque Happy Nation from Ace Of Base starts to play, and Serap opts out for dancing alone under the disco ball to this song, that's when we are all drawn into the realization of our real-day life to face individual truth of metropolitan loneliness.