Biyografi Dünyası
Crab Basket (Yengeç Sepeti)

Crab Basket (Yengeç Sepeti) (translated)

Movie · 1994 · 8 people

Yavuz Özkan wrote and directed Yengeç Sepeti (Crab Basket), a Turkish drama released on November 18, 1994. Shot in color on 35 mm and running about 95 minutes, it is a family drama. Its title points to crabs put in the same basket pulling one another down, hinting at the tensions inside the family. It is also remembered as the last feature of Sadri Alışık, who plays the grandfather.

The story centers on an elderly mother and father who have fled the noise of the big city for a quiet, peaceful life by a lake, enjoying old age. Their two sons and a daughter arrive for a weekend holiday with their spouses and grandchildren. The reunion brings the family's suppressed problems and inner conflicts to the surface. Sadri Alışık plays the grandfather and Macide Tanır the mother; Mehmet Aslantuğ is Ömer, Şahika Tekand is Ayfer, Derya Alabora is Nuray and Oktay Kaynarca is Güner, with Ege Aydan, Sedef Ecer and Berna Tunalı and several child actors as the grandchildren.

Ertunç Şenkay was the cinematographer. Kadir Yılmaz, Fatih Aksoy and Aycan Çetin produced the film, with Aycan Çetin also art director. The film was made by Z Film, Med Yapım and Kanal D.

DirectorYavuz Özkan
Production companyKanal D
Crab Basket (Yengeç Sepeti) Crab Basket (Yengeç Sepeti) Crab Basket (Yengeç Sepeti)

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Cast

Also in the cast: Berna Tunalı

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Through different eyes

AI-assisted editorial takes written from different viewer perspectives. They are not reader reviews; those are below.

Yeşilçam Nostalgic A viewer raised on the classics, looking for warm storytelling and strong acting.

Watching it in the knowledge that it was Sadri Alışık's last feature, every look he gives as the grandfather goes straight to the heart. Seeing one of Yeşilçam's best-loved faces as an old man who has fled the city's noise for peace by a lake carries a sadness all its own. The elderly couple he plays with Macide Tanır is the film's warm center. The family portrait Yavuz Özkan draws, unlike our old family films, is far from cheering; resentments and buried problems rise to the surface. As a farewell film, it is precious.

History & Society Lens Asks about the period, the social background and what the work reflects.

Yengeç Sepeti takes its name from crabs in the same basket pulling each other down, and applies that image to family relationships. It is an interesting observation of family ties in mid-nineties Türkiye: an elderly couple who have escaped the big city's noise face long-buried tensions when their children, their spouses and the grandchildren arrive for the weekend. It invites thought about expectations between generations, conflicts among siblings and spouses, and how city life pulls a family apart. The film tells all this as heavy drama, and some viewers may find the pace slow, but it is a valuable example for anyone interested in the family structure of the time.

Family Viewer Asks whether the whole household can watch it; cares about humor and heart.

It sounds like a family film, but it is really one for grown-ups. It follows a large family gathering for a weekend holiday, where old resentments come out. The subject is heavy, with problems and conflicts at the front. Adults may find it thought-provoking, especially those who know crowded family gatherings well. Children, though, will most likely get bored.

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