The neo-realistic style is appropriate because the plight of Kurds is real. The films are good in terms of Kurdish culture, landscape and the vision of the Kurds. The movies praise the Kurd’s lifestyle, as it is by a Kurdish for Kurdish people. They are written and spoken in Kurdish language, thus unique as few films take Kurds as a subject matter and use the language too. International attention has also been drawn in the movies. The movies represent all aspects of Kurdish; the climate, the landscape, dressing code, behaviors, and culture in their land. The Kurds have used plays, music and films in the recent past to express themselves. The changing status of women representation in Turkey society, the effect of internal and external people and the East-West tug of war on Turkey through; faith, economics, politics, and so forth. The government has also allowed the teaching of Kurdish language in private universities. National cinema and Turkish filmmaking has received little English language attention as language equals to identity, and it is the root of any culture. Plays and art have been made to make the culture of Kurdish identified. Turkish cinema has gone under some renascence of late which gives various identities of a Turkish cinema. In Turkey, the language is mainly the contentious feature of Kurdish films. Kurdish directors have made Kurdish themed films yet it is not the official language in Turkey. In Turkey the films have shown that they can be formed and awarded.
The movies “I saw the sun” and “The Breath” begins at the beginning just like many other movies. In the beginning where Muslim women could not be actors, non-Muslims minorities assumed the female role. Attention is given to women representation in film production. Directors and crew members are from Kurds who are minority and do not normally receive acknowledgement, making them to hide or down play their origins yet they have played a large role in the cinema (Mackenzie, 119). The movies appeal against discrimination and prejudice. There can be various reasons for the rise in Kurdish Cinema. International success can be classified as one of them, as they represent the lives of Kurdish people. It motivates young Kurdish people to engage in cinema and has turned into a way of self-description and liberation. This has made many young people to get film education at the university. The existence of Kurdish themed cinema started way back in 1960’s in Turkey. They portrayed eastern characters but it was only late in 2007 that it was portrayed as “Kurdish cinema”. This motivated a historical evaluation of cinematic production in Turkey by the definition of Kurdish cinema. The rise of Kurdish film directors and film critics has made the distinction between Turkish cinema and Kurdish cinema (Stanley, 276). Social issues in Turkish cinema have become a source of repression and difficult to solve. There is the issue of self-cencership and government censorship. The funding is also from European sources rather from the Turkish. The urbanization aspect has also threatened Kurdish culture as the use of mother tongue is a human rights violation thus; music, fairytales, lullabies and films from the villages are transferred from the heritage to new generations. The situation has changed considerably as there are Kurdish-language books, music, and some theatre troupe’s stage productions in Kurdish too. The films show how the Kurdish