Apollon by Day Athena by Night: I See Dead People
“I have great respect for the past. If you don’t know where you’ve come from, you don’t know where you’re going,” Maya Angelou said, a quote which seems to fit Apollon by Day Athena by Night perfectly.
Defne (Ezgi Celik) rides on a bus, covering her eyes with her hoodie. She looks tired and fed up. In the seat behind her, a man (Baris Gönenen) hollers: “I am dying to see the sea again!” and jumps off the bus. She rolls her eyes. This trip is just getting started.
The movie, directed and written by Emine Yildirim, surprises us right from the start, as the narrative seems to go one place but takes an entirely different turn.
What appears at first to be a conventional story – maybe a couple having relationship problems? Or is it about a woman returning to her hometown?- turns out to be a charming and unique movie, which involves ghosts, history, and self-acceptance.
What is truly remarkable about the script is the way it weaves different components and characters in an uncomplicated yet enjoyable way.
In search of her birth mother (whom she presumes is dead), orphan Defne meets others in need. She becomes a sort of healer of the afterlife, an unwilling medium who helps the deceased complete circles with the living; in contrast, her own story—a big question mark on her past —is still a mystery.
What is refreshing about this film is that it doesn’t have to resort to special effects to make us believe we see ghosts; it is simply well-written, with lots of amusing situations and dialogue that is not lost in translation, and features outstanding performances by its extended Turkish cast.
The actors provide both humor and emotional depth. Baris Gönenen is charming and silly as Hüseyin, one-half of the odd couple. Still, his character makes us reflect on more profound and serious situations regarding Turkish political history: we learn that he was killed by the police, and his body was never found. Thus, he roams the world—one of so many victims of political violence who simply go missing.
Or take the character of Nazife, played by Selen Ucer. She was also a victim, but of domestic violence. She had to resort working as a prostitute, leaving her daughter behind. Now, in the spiritual realm, she is trying to make amends with her and make her understand.
In the same sense, there is Selma, played by Deniz Türkali, the owner of the small hotel in which Defne is staying. She plays a long-suffering wife whose husband constantly criticizes her. Yet another victim, though (thankfully) not for long.
Another interesting character is a Roman lady from antiquity, played by Gizem Bilgen. She has lost her voice. Defne and her pals must try to sort out the mystery of her life: who was she, and why can’t she speak.
But if there is a mystery that needs to be solved in this story, it is Defne’s. Her only clues are a book and the photograph of a woman whose face is obscured by her hand. These are the only elements Defne has to try to find out who her mother was. Her origin story literally haunts her.
Ezgi Celik as Defne is compelling. Both aloof and intense, petulant yet understanding, her performance is touching and believable.
The movie also features great cinematography, showcasing stunning views of Turkey’s ancient Roman ruins and the beautiful sea. It makes us want to go there and see those amazing sights for ourselves.
Of course, the film is not perfect: some production aspects seem a bit understated and slightly amateurish. But let’s not forget that this is Yildirim’s first feature.
In an era that values cynicism, Yildirim offers a fresh approach; she delivers a film that is equally sincere and witty, one that portrays the past as a healing journey towards the future. Rephrasing the quote from Maya Angelou: ‘The road ahead may not be clear, but we must persevere.’
By Adriana Fernández
Edited by Yael Shuv
@FIPRESCI 2025