Last year saw the release of Caye Casas’ The Coffee Table, the feel-bad movie of the decade that shocked audiences with its pitch-black comedy about a harrowing topic. Now, as exclusively announced by Fangoria, Turkish director Can Evrenol is tackling a remake, aptly titled Cam Sepha, or The Turkish Coffee Table.
In the original film,
“Jesus and Maria, a couple going through a difficult time in their relationship. Nevertheless, they have just become parents. To shape their new life, they decide to buy a new coffee table. A decision that will change their existence.”
If you haven’t seen the original film, we’d recommend watching it Asap. That synopsis barely scratches the surface of what awaits in Casas’ film.
Evrenol is no stranger to disturbing and challenging cinema, writing and directing films like Baskin and Sayara. His work is confronting, particularly about masculinity and all of its toxic forms...
In the original film,
“Jesus and Maria, a couple going through a difficult time in their relationship. Nevertheless, they have just become parents. To shape their new life, they decide to buy a new coffee table. A decision that will change their existence.”
If you haven’t seen the original film, we’d recommend watching it Asap. That synopsis barely scratches the surface of what awaits in Casas’ film.
Evrenol is no stranger to disturbing and challenging cinema, writing and directing films like Baskin and Sayara. His work is confronting, particularly about masculinity and all of its toxic forms...
- 5/14/2025
- by Mary Beth McAndrews
- DreadCentral.com
Caye Casas’s shocking, deeply disturbing horror film The Coffee Table is getting a remake from Baskin director Can Evrenol, and the official title has been revealed.
The upcoming remake from the Turkish filmmaker is fittingly titled The Turkish Coffee Table, and our friends over at Fangoria debuted the poster this week. Check it out below.
The Turkish title for Can Evrenol’s remake is Cam Sepha.
The Coffee Table “follows Jesus and Maria, a couple going through a difficult time in their relationship. Nevertheless, they have just become parents. To shape their new life, they decide to buy a new coffee table. A decision that will change their existence.”
This description of course doesn’t reveal what actually happens when the titular coffee table is brought home, and we won’t spoil that here for anyone who hasn’t seen the movie. But trust us when we say it’s a shocker.
The upcoming remake from the Turkish filmmaker is fittingly titled The Turkish Coffee Table, and our friends over at Fangoria debuted the poster this week. Check it out below.
The Turkish title for Can Evrenol’s remake is Cam Sepha.
The Coffee Table “follows Jesus and Maria, a couple going through a difficult time in their relationship. Nevertheless, they have just become parents. To shape their new life, they decide to buy a new coffee table. A decision that will change their existence.”
This description of course doesn’t reveal what actually happens when the titular coffee table is brought home, and we won’t spoil that here for anyone who hasn’t seen the movie. But trust us when we say it’s a shocker.
- 5/14/2025
- by John Squires
- bloody-disgusting.com
Private Lesson is a Rom-Com movie directed by Kivanç Baruönü, starring Bensu Soral and Halit Özgür San.
Premise
Posing as a private tutor, Azra secretly coaches students on achieving their goals in life and love – but not without a bumps on the road.
Movie Review
A quirky and formulaic Rom-Com that is as plastic as can be. The impeccable scenography, sterile photography, beautiful cast, and a screenplay that will not risk too much, and yet manages to amuse, are the ingredients in this, a more lighthearted film.
If you are seeking a really edgy romantic comedy, this is not it. ‘Private Lesson’ is nice and quotidian in all its artificial perfection.
With a good cast that successfully walks the tightrope between super insipid yet convincing acting, in a set that is staged to portray the delightful lives of its characters, we are told this slightly entertaining tale. It is contemporary,...
Premise
Posing as a private tutor, Azra secretly coaches students on achieving their goals in life and love – but not without a bumps on the road.
Movie Review
A quirky and formulaic Rom-Com that is as plastic as can be. The impeccable scenography, sterile photography, beautiful cast, and a screenplay that will not risk too much, and yet manages to amuse, are the ingredients in this, a more lighthearted film.
If you are seeking a really edgy romantic comedy, this is not it. ‘Private Lesson’ is nice and quotidian in all its artificial perfection.
With a good cast that successfully walks the tightrope between super insipid yet convincing acting, in a set that is staged to portray the delightful lives of its characters, we are told this slightly entertaining tale. It is contemporary,...
- 12/16/2022
- by Veronica Loop
- Martin Cid Magazine - Movies
"Rule number one: you're going to do what I tell you." Netflix has revealed an official trailer for a Turkish romantic comedy called Private Lesson, arriving for streaming on Netflix starting this December. Netflix has been releasing more & more localized content to live up to agreements they've made with each country to produce a lot more content there in exchange for providing tons of films for viewers. What is this romcom all about? Posing as a private tutor, Azra secretly coaches students on achieving their goals in life and love — but not without a few bumps in the road. The cast of the film includes Bensu Soral as Azra, Halit Özgür Sarı, Helin Kandemir, Rami Narin, Hatice Aslan, Hülya Gülşen Irmak, Murat Karasu, Elif Ceren Balıkçı, Deniz Altan, and Esengül Yılmaz. This seems like a quirky Turkish reinvention of the Cyrano de Bergerac story, with a woman falling for...
- 11/28/2022
- by Alex Billington
- firstshowing.net
Nuri Bilge Ceylan’s “Three Monkeys” and the Dardenne brothers’ “Le Silence de Lorna” are two films that provoked feelings of admiration at the 2008 Cannes Film Festival, and not without reason. Ceylan is one of the consistent Turkish auteurs whose filmography is distinguished for the austere and cinematographic-specific way it treats its subject matter. The same applies to the Dardenne brothers who have created a distinctive filming style that deftly oscillates between emotional detachment and intense involvement.
Among other similarities, the two films share an emphasis on cinematographic narration in the way Robert Bresson understood it, that is, as a diegetic form that is not subservient to the plot or the scenario. In both films, the camera does not function as a means of reproduction of a pro-filmic reality, but as an instigator of emotions, gestures and responses that are not necessarily predetermined by the script. On the surface, they...
Among other similarities, the two films share an emphasis on cinematographic narration in the way Robert Bresson understood it, that is, as a diegetic form that is not subservient to the plot or the scenario. In both films, the camera does not function as a means of reproduction of a pro-filmic reality, but as an instigator of emotions, gestures and responses that are not necessarily predetermined by the script. On the surface, they...
- 6/29/2010
- by Angelos Koutsourakis
- The Moving Arts Journal
We're all for getting out in the summertime, but there might not be anything more refreshing than cooling off in a movie theater... or seeing a movie in the comfort of your air-conditioned home on demand, on DVD, or online... or better yet catching a classic on the big screen at a nearby repertory theater. With literally hundreds of films to choose from this summer, we humbly present this guide to the season's most exciting offerings.
May 1
"Eldorado"
The Cast: Bouli Lanners, Fabrice Adde, Philippe Nahon, Didier Toupy, Franise Chichy
Director: Bouli Lanners
Fest Cred: Cannes, Warsaw, Glasgow, Palm Springs,
The Gist: When Elie (Adde), a hapless young thief attempts to rob Yvan (Lanners), a 40-year-old car dealer, the two form a unlikely friendship that leads to a road trip across Belgium in this slight comedy that won the Best European Film at the Director's Fortnight at Cannes last year.
May 1
"Eldorado"
The Cast: Bouli Lanners, Fabrice Adde, Philippe Nahon, Didier Toupy, Franise Chichy
Director: Bouli Lanners
Fest Cred: Cannes, Warsaw, Glasgow, Palm Springs,
The Gist: When Elie (Adde), a hapless young thief attempts to rob Yvan (Lanners), a 40-year-old car dealer, the two form a unlikely friendship that leads to a road trip across Belgium in this slight comedy that won the Best European Film at the Director's Fortnight at Cannes last year.
- 5/6/2009
- by Stephen Saito
- ifc.com
Cast: Yavuz Bingöl, Hatice Aslan
Cinematographer: Gokhan Tiryaki
Directed by: Nuri Bilge Ceylan
Release date: 3 rd October 2008
Language: Turkish
It’s an age-old story. It could be set in any place. Any time. Master commits an inadvertent crime. He convinces his servant, in this case his driver, to take the fall. With promises of money. The master, here a politician, gives his word that in exchange for loyalty, the servant’s family would be taken care of. Once the driver is in prison, has the driver’s wife in bed with himself before you can blink. Driver’s morose son who keeps on failing the university exams chances upon the dirty secret....
(more...)...
Cinematographer: Gokhan Tiryaki
Directed by: Nuri Bilge Ceylan
Release date: 3 rd October 2008
Language: Turkish
It’s an age-old story. It could be set in any place. Any time. Master commits an inadvertent crime. He convinces his servant, in this case his driver, to take the fall. With promises of money. The master, here a politician, gives his word that in exchange for loyalty, the servant’s family would be taken care of. Once the driver is in prison, has the driver’s wife in bed with himself before you can blink. Driver’s morose son who keeps on failing the university exams chances upon the dirty secret....
(more...)...
- 11/2/2008
- by Priyankar
- ReelSuave.com
UC Maymun (Three Monkeys)
Cannes film review, In Competition
It's no secret that the films of Turkish auteur Nuri Bilge Ceylan are an acquired taste. They are as slow as molasses, but as discerning cinephiles discovered with "Distant" (2003) and "Climates" (2006), what a sweet flavor that molasses, properly savored, contains. "Three Monkeys" is no different, yet at the same time represents some tentative steps into new and welcome thematic territory.
Low-grossing theatrical releases can be expected in major cities around the world in which the long-take aesthetic is still appreciated, and ancillary sales, especially DVD, will be even better. It's a must for festivals with even modest art-film pretensions and, given Ceylan's highly developed visual sensibility, should especially appeal to art museum programrs.
Ceylan's usual focus on individuals has now been expanded to include a family, comprising a husband, Eyup, a wife, Hacer, and their teenage son Ismael. Eyup, the driver of a local politician named Servet, is convinced by the latter to take the rap for a death caused by a driving accident on the eve of elections. His sentence will be short, Servet explains, his family will continue to be paid his salary while he's in prison, and a lump sum will be waiting for him when he gets out.
All of this backstory is conveyed by voiceover in seconds, then gotten out of the way as the film settles in to a leisurely exposition of the daily life of mother and son. Nothing whatsoever seems to happen, yet little clues are constantly being planted that will continue to build throughout the film and lead to several grand, if understated, emotional payoffs.
No one currently working in cinema today can suggest an interior psychological state, solely through the camera's external observation of an unmoving character, as well as Ceylan can. Also, he uses the entire frame, which is always perfectly composed for maximum expressivity, whether in a long-held extreme long shot, or in a devastating close-up. Differential focusing and camera angle are also meticulously thought out, and the emotional tension created in a few purposely drawn-out scenes can be excruciating.
The new territory, besides the emphasis on family dynamics, includes the occasional unnerving appearance of a long-dead younger brother, and several subtle feints in the direction of a apparently new religious sensibility.
The film is not without blemishes. For one thing, Hacer's motivation for a rash act that severely threatens the family is barely sketched in, hence not quite believable. For another, Ceylan seems unsure how to end his film, which would require a decision concerning which themes to accent.
But these are small cavils in the face of a film whose every shot seems lifted right off the wall of an art gallery and just as powerfully, if quietly, satisfying.
Cast: Yavuz Bingol, Hatice Aslan, Ahmet Rifat Sungar, Ercan Kesal. Director: Nuri Bilge Ceylan. Screenwriter: Ebru Ceylan, Ercan Kesal, Nuri Bilge Ceylan. Producer: Zeynep Ozbatur. Director of photography: Gokham Tiryaki. Art Director: Ebru Ceylan. Editor: Ayhan Ergursel, Bora Goksingol, Nuri Bilge Ceylan
Sales: Pyramide International
No MPAA rating, 109 minutes.
It's no secret that the films of Turkish auteur Nuri Bilge Ceylan are an acquired taste. They are as slow as molasses, but as discerning cinephiles discovered with "Distant" (2003) and "Climates" (2006), what a sweet flavor that molasses, properly savored, contains. "Three Monkeys" is no different, yet at the same time represents some tentative steps into new and welcome thematic territory.
Low-grossing theatrical releases can be expected in major cities around the world in which the long-take aesthetic is still appreciated, and ancillary sales, especially DVD, will be even better. It's a must for festivals with even modest art-film pretensions and, given Ceylan's highly developed visual sensibility, should especially appeal to art museum programrs.
Ceylan's usual focus on individuals has now been expanded to include a family, comprising a husband, Eyup, a wife, Hacer, and their teenage son Ismael. Eyup, the driver of a local politician named Servet, is convinced by the latter to take the rap for a death caused by a driving accident on the eve of elections. His sentence will be short, Servet explains, his family will continue to be paid his salary while he's in prison, and a lump sum will be waiting for him when he gets out.
All of this backstory is conveyed by voiceover in seconds, then gotten out of the way as the film settles in to a leisurely exposition of the daily life of mother and son. Nothing whatsoever seems to happen, yet little clues are constantly being planted that will continue to build throughout the film and lead to several grand, if understated, emotional payoffs.
No one currently working in cinema today can suggest an interior psychological state, solely through the camera's external observation of an unmoving character, as well as Ceylan can. Also, he uses the entire frame, which is always perfectly composed for maximum expressivity, whether in a long-held extreme long shot, or in a devastating close-up. Differential focusing and camera angle are also meticulously thought out, and the emotional tension created in a few purposely drawn-out scenes can be excruciating.
The new territory, besides the emphasis on family dynamics, includes the occasional unnerving appearance of a long-dead younger brother, and several subtle feints in the direction of a apparently new religious sensibility.
The film is not without blemishes. For one thing, Hacer's motivation for a rash act that severely threatens the family is barely sketched in, hence not quite believable. For another, Ceylan seems unsure how to end his film, which would require a decision concerning which themes to accent.
But these are small cavils in the face of a film whose every shot seems lifted right off the wall of an art gallery and just as powerfully, if quietly, satisfying.
Cast: Yavuz Bingol, Hatice Aslan, Ahmet Rifat Sungar, Ercan Kesal. Director: Nuri Bilge Ceylan. Screenwriter: Ebru Ceylan, Ercan Kesal, Nuri Bilge Ceylan. Producer: Zeynep Ozbatur. Director of photography: Gokham Tiryaki. Art Director: Ebru Ceylan. Editor: Ayhan Ergursel, Bora Goksingol, Nuri Bilge Ceylan
Sales: Pyramide International
No MPAA rating, 109 minutes.
- 5/16/2008
- The Hollywood Reporter - Movie News
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