The director continues to tell the story of losers. Because the film is an adaptation of a novel, it can be regarded as different from the other films of the director. However, the main character of the film is a loser and a very dark person like the main characters in other movies. The story is about Seniha, a very ugly and unmarried women. She lives with his older brother and his wife. She is jealous of his brother and his wife and wishes them to be unhappy like her. She encourages young and unexperienced wife to have an affair with a young boy. She plans to take the revenge from her brother. When she informed her brother that his wife has an affair, he murders the young lover and goes to prison.But this is not enough for Seniha.The feeling of jealousy is such an enormous that the feeling can be over if her brother would be dead.

We have seen so many films telling the story of couples cheating each other. There is also love triangle in this movie. But the character deciding the events is not one of them. There is a fourth character who manages the affairs to take her revenge from her brother maybe from all over the world.Seniha is an unique character in Turkish cinema so it is worth to see it.

Based on a novel by Nahid Sırrı Örik, KISKANMAK (ENVY) is a powerful depiction of the ways in which people's lives are hemmed in by class, gender and emotional preoccupations.

I cannot comment on the adaptation's relationship to the source- text, but as it stands Zeki Demirkubuz's film, although set in the early Thirties, offers a powerful comment on inequalities within contemporary Turkey.

The action opens at a celebration in the Black Sea town of Zonguldak. Couples dance idly round the floor until the band-leader calls them to order and invites everyone to sing the National Anthem in praise of Mustafa Kemal Atatürk. The action takes place only seven years after the Republic was established in 1923; and we are reminded once more of the principles upon which it was founded - equality, fairness, and opportunity.

Unfortunately what follows completely subverts that impression. Mine-owner's wife Mükerrem (Berrak Tüzünataç) leads an aimless existence dominated by tea-parties and social occasions. Sharing her house with her husband Halit (Serhat Tutumluer),and her sister- in- law Seniha (Nergis Öztürk),she orders her servants to wait upon her hand and foot. Eventually Mükerrem falls in love with Nüshet (Bora Cengiz),the youthful son of a local society family; together they spend clandestine evenings together, while Halit apparently remains oblivious.

Mükerrem's actions enrage Seniha, who hitherto has enjoyed a close relationship with Halit's wife. Seniha ends up taking a decision that ultimately leads to the destruction of all three protagonists.

Shot in washed-out colors, with the lighting focused deliberately on the characters' faces, Demirkubuz's film creates a self-enclosed world in which outward show matters: preserving one's honor counts above everything else. Within this world women are kept as virtual prisoners: the film is full of repeated shots of them either looking out of the window from inside, or photographed inside their houses from the outside. The sense of imprisonment is enhanced by repeated close-ups of lattices, grilles and covered lights.

The idea of female confinement is nothing new; it is characteristic of any patriarchal society in which men like Halit come home from work expecting their dinner, and prepare for business trips by having their suitcases packed for them. As portrayed by Tutumluer, Halit is a very passive person, despite his apparent power: everyone, it seems, is prepared to do all his work for him.

What gives Demirkubuz's film added bite is the way he shows the characters experiencing emotional as well as physical imprisonment. Neither Mükerrem nor Seniha can see beyond their limited field of self-interest; and hence destroy themselves as well as those closest to them. In a highly socially stratified society, they have been brought up to observe certain mores; and when these mores have been traduced, they have no means of coping. Their reactions are almost childlike, but entirely coherent in a society whose inhabitants are almost entirely prevented from thinking for themselves.

KISKANMAK is a domestic tale but carries substantial political undertones. In any world that curtails self-determination, few people can survive for very long. The film ends with Seniha photographed alone on a cruise-ship, biting into a sandwich and admitting her faults in voice-over. While understanding that she has acquired self- knowledge, we hardly feel sympathetic towards her, in light of what has previously taken place.

The mood of melancholy is cleverly underlined by the use of a musical leitmotif from Albinioni. KISKANMAK is a mournful yet memorable piece of work.