In the spirit of the jaw- droppingly outrageous KILINK ISTANBUL'DA, DEMIR PENCE concerns itself with two masked adversaries -- one fighting for justice, the other a nefarious criminal -- who do battle with the fate of Turkey & the entire world at stake.
Halil goes to a bar with his friends and meets Sabiha, a prostitute, and they fall in love. Two lovers want to escape their past and live together. However, Sabiha knows little about Halil's life, and she has to face some facts.
Based on the story of Ezo the Bride, a beautiful young woman with black hair and rosy cheeks. She lived in a small village in southern Turkey. All the men who passed through the village fell in love with her and her family hoped she would find a good match. However, Ezo was not what you’d call ‘lucky in love’. Her first husband loved another woman. Darn. She was allowed to leave the marriage on grounds of maltreatment. Her second husband lived in Syria, and she missed her village.
Arif is a young man who lives with his family in Balat. He supports his family by working as his father's horse carriage driver. Gülşen, the long-time girlfriend of Arif, who is studying at medical school, waits for the day when school ends and they get married. However, Arif falls in love with Çiğdem, the daughter of a rich family, whom he met at school. Caught between two different lives, Arif is forced to make a choice.
Unlike her mother Hulya freewhells with her rich and spoiled friends. But Sofor Nebahat is poor and proud.
In the mansion of a rich family living in Istanbul, a very valuable necklace is stolen. Suspecting that the thief is someone from inside the house, the owners start to approach the people working in the house with class differences and prejudices. The thieves realize that the necklace is fake.
Based on a comic novel, this Turkish fantasy movie shows some resemblance to Casper.
After the release, Iki Gemi Yanyana (Two Ships Side by Side) stirred controversy over its treatment of lesbians, showing two women kissing each other on the lips (later, in Dul BirKadın (A Widow), director Atıf Yılmaz took up the same theme again). This scene creates a moment of interest in this otherwise conventional film.