All the changes, transformations and traumas experienced in the social sphere have also found their place in art, which is an important field of expression of humanity. As the most important means of artistic expression of visual culture, cinema constructs a space of imagination on society ideologically. Film narratives take a stance on the subjects they deal with in terms of content and form, as well as in political terms. An important response to social fractures and traumas is the discourse of silence. Although silence is an effective attitude, an eternal silence cannot affect anything. The relationship between silence and word feeds precisely on this contradiction. Both the word and the silence are strengthened in each other's absence, but they cannot reach a conclusion without transforming into each other. What the films describe ideologically inevitably passes through the moral filter of society. Therefore, the ideology of the film or director is related to the collective ideology. In this context, Derviş Zaim's Çamur (2003) and Flaşbellek (2020), one of the important directors of Turkish cinema, are very important productions in terms of their attitude to social breakdowns in terms of content and form. In terms of plot or form, Derviş Zaim's desire to tell a story through a world order without war; it is worth examining from an academic point of view. Ideological film analysis was used as a method in the study. Ideological film analysis deals with more implicit messages and narrative elements in films as much as those on the surface. Within the scope of this study, the ideological approach was used for two purposes. Both the analysis of the explicit and implicit messages in the films and the reflections of the ideological view of the films on the film form were revealed.
Keywords: Turkish Cinema, Derviş Zaim, Camur, Flasbellek