Tumgik
#farah zeynep abdullah
svejarph · 4 months
Text
farah zeynep abedullah gif pack
Tumblr media
CLICK THE SOURCE LINK BELOW and you will find #547 245x150px gifs of Farah Zeynep Abdullah as Alexandra "Sura" Julianovna Verjenskaya in Kurt Seyit ve Sura Season 2 (2014)! These were created from scratch by Sveja. Do what you want with these, just don't repost/claim as your own, don't use them to play Farah or Sura, don't use in any smut/smut-based blogs, and like/reblog if using. If you like what I'm doing, feel free to commission me or donate to my ko-fi. Farah was 24-25 during this season and is Turkish, Iraqi Turkish, & white (Macedonian, Bosnian). This season takes place in Turkey during the 1920s.
tw: alcohol, being drunk, candles, drinking, eating, fire, food, hugging, illness, kissing, pda, religious imagery, shaky camera, violence, water, waves
23 notes · View notes
sanimainan · 11 months
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
64 notes · View notes
jedivstheworld · 9 months
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Turkish core be like
29 notes · View notes
faintingheroine · 5 months
Text
The Reason Why Bihter Cannot Be A Fleabag
Bihter being a sort of knowing cynical Fleabag figure in this new movie is so hilarious because I don’t think Bihter is a character who looks at the world around her too critically. She is pretty earnest and she mainly blames herself, her own mother and Behlül towards the end. She never blames Adnan or the marriage institution or anything like that.
Like Nihal says this:
“This wedding story gave strength and liveliness to the comedic bent in Nihal. The whole wedding house drifted before Adnan Bey’s eyes in fragmented scenes ornamented with oddities and amusements. After she had drawn an imagined wedding scene, like an inspired artist who creates life with two strokes of a pencil, she was standing before her father, and imitating the bride who sulked in order to look serious.
‘Only think,’ she was saying, ‘hours will pass by, days will pass by, and you will always be like this, always sulking. It’s as if you regret being a bride, as if you resent all of these people who have come to see you… And then afterwards, no, even before…’
Nihal was raising her finger in an admonishing gesture. ‘There is another thing too, as disgusting as this is laughable,’ she was saying. Then, in order to recount the lady who sat on the floor cushion, she was sitting down on the carpet, closing her eyes, swaying her head slowly from side to side to the intoxicating melodies of the saz, and throwing out the blessing, ‘ah! Long may you live!’
This woman was to pick her up, take her to Kalpakçılarbaşı, and sell her to a man whom she had not seen or known until that day, like cheap goods.”
(Chapter 13)
The last sentence is the most openly feminist sentence in the whole novel.
Nihal also says this:
“Behlül looked on with a pained smile. There was such a deep remonstrance in this smile that the jesting smile on Nihal’s lips vanished instantly, and she said, ‘Behlül, will you tell me? Why do you wish to marry me? Confess that this is nothing more than a joke. You would admit the possibility of anything but the possibility of this, this joke, of marrying little Nihal, that girl who looked like the pictures on Japanese fans. Yet chance brought before you a woman bound to her chair, looking to amuse her empty hours, and a father searching for an opportunity to be left at peace with his young wife. They had on their hands a girl doomed to be handed over to the first suitor who appeared. You were thought of first because you were closest. You too, were a little tired, a little bored of your life, you were looking for a little change. When this jest rolled before you, you reached out your hand. Here is a fine toy, you said to yourself, an excellent diversion for a while! Easy to discard once it’s broken…’
Nihal looked at Behlül again with a small smile, then she added, with an elegant gesture in the manner of a child throwing away a broken toy, ‘I think that now it’s time to throw away this plaything.’”
(Chapter 19)
Both Nihal and Bihter take life too seriously to be able to successfully deal with a person like Behlül, but Bihter even more so.
Like, see this conversation:
“The young woman suddenly asked the old girl, in a voice that acquired a confidential air, ‘Mademoiselle! What was wrong with Nihal, if you please? You are privy to all her secrets…’
There was the unconcealable scent of an argument in the air of this voice, that could not escape Mlle de Courton’s sensitivity.
She answered calmly. ‘What secret can a girl of Nihal’s age have to hide, Madame? Because Nihal has no secret, I am privy to all she does, and I think everyone knows as much as I do.’
Bihter lifted her head and cast a meaningful glance at the old girl’s calm face.
‘You are inviting my curiosity, Mademoiselle. It seems I am behind everyone in being privy to Nihal’s feelings. For some time I have been seeing such small things in her, and especially since the morning, such strange sulks… Would you believe it? Mademoiselle, let me confess something to you, some days I think there are people in the house who wish to take advantage of the child’s weak nerves.’ – Bihter’s smile was gaining strength – ‘For instance, all those servants who are doubtless against me… You know that I have done everything possible for a woman to do in order to love Nihal, to make myself loved by her. I still do, don’t I, Mademoiselle?…’
Such a conversation was taking place for the first time between Mlle de Courton and Bihter. Suddenly the old girl found herself in a difficult position between a daughter and a step-mother; suddenly she felt that today, right here, in this country realm, in the dialogue that took place before that ball game, her situation in the house would be changed, and then a life would begin that was insufferable for her. Finally that thing that had been feared, that had been delayed for a year, but that could never be kept from occurring, was finally beginning. Bihter and Nihal were taking out the claws that longed to tear at each other. The old girl was saying to herself, ‘whose fault is it? No one’s!… In the affair itself… Step-mother and daughter! After all, the lives of these people are, for all of history, either a comedy or a tragedy. How will this play end between Bihter and Nihal? I am afraid lest it be a comedy for one and a tragedy for the other…’
She wanted to give Bihter a response that left no opportunity for another conversation.
‘Madame, you do your duty so well that you are being perfectly successful in both loving Nihal and in making yourself loved by her. I don’t think that anyone could be found who would try to take advantage of Nihal’s weak nerves. If you see small things in Nihal that cause you concern, instead of ascribing them to the influence of another person, I believe it would be best to turn against those weak nerves themselves. I know such people in the house who…’ – the old governess was disclosing her intention with a kind smile that wanted to describe who she was speaking of – ‘yes, I know such people who are as mindful of their responsibilities as you, and are as successful as you in its performance.’
Bihter could not hide a small anxiety. Now her hands were moving nervously. While her eyes followed the ball that Nihal threw, her hands were worrying the silk tassels of her headscarf.
‘Mademoiselle,’ she said in a dry voice, ‘I do not enjoy roundabout sentences. Of whom are you speaking?’
The old girl replied instantly. ‘Not at all roundabout, but a very simple sentence. In particular, I speak of myself.’”
(Chapter 7)
Bihter takes herself so seriously here. Almost laughably so. She has the air of a little girl playing at being a mother to her doll. Even Mademoiselle de Courton, the sentimental “old maid”, is better at seeing the situation from the outside.
So, Bihter is a person who takes life and herself seriously. She is a person who can easily convince herself to believe in a lie. She is also a person who does care about what others think, much more than Nihal does (Nihal does care deeply about being loved by the few people she loves, but she doesn’t care as much about what others think of her).
Like, Bihter isn’t the character to look towards if you want a woman who is cynical and sarcastic and who critically engages with the world around her.
Bihter is a rebel because of what she does, not because of what she says and thinks. A mocking, knowing Fleabag vibe doesn’t fit her at all. (Neither does it fit Nihal or anyone in the book really, but it fits Bihter the least).
Why even adapt this book instead of any other at this point? It is the Netflix Persuasion all over again.
11 notes · View notes
coalaspy · 4 months
Text
Tumblr media
8 notes · View notes
jewellery-box · 7 months
Text
Tumblr media Tumblr media
Farah Zeynep Abdullah for the new movie 'Bihter'. Wow.
8 notes · View notes
asavnazstory · 1 year
Text
Tumblr media Tumblr media
bu aşk bir uçurum olsa sonunda sen olsan, atlardım Seyit
18 notes · View notes
ilhansens · 1 year
Photo
Tumblr media Tumblr media
FARAH ZEYNEP ABDULLAH KURT SEYIT VE ŞURA | 10. BÖLÜM
22 notes · View notes
Photo
Tumblr media Tumblr media Tumblr media
Farya Bethlen
Magnificent Century - Kösem Episode 36
50 notes · View notes
mycelebs · 2 months
Text
Tumblr media Tumblr media
Farah Zeynep Abdullah
2 notes · View notes
dogununprensesi · 5 months
Text
Geçmişte yaşamak isteyen insanlar vardır. Ve ben onlardan biriyim.''
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Şşşş Bold Pilot Geliyor.!
Şampiyon olmak demek, bir gün kaybedeceğini bildiğin halde koşmaya devam etmektir.
4 notes · View notes
magnificent-sultana · 2 years
Photo
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Women that give me bi panic from season 2 of Muhtesem Yuzyil: Kosem (Magnificent Century: Kosem):
1. Hande Doğandemir as Turhan Hatice Sultan
2. Nurgül Yeşilçay as Mahpeyker Kosem Sultan
3. Leyla Feray as Ayse Sultan 
4. Ece Çeşmioğlu as Atike Sultan
5. Müge Boz as Humasah Sultan
6. Farah Zenyep Abdullah as Farya Sultan
7. Alma Terzic  as Ester Hatun
8. Sezgi Sena Akay as Sanavber Hatun
9. Gunes Sayin as Kalika Hatun
10. Aslı Tandoğan as Gevherhan Sultan
56 notes · View notes
dizyarasi · 11 months
Text
- Kaybolup gidecek ama o yazdığın?
+ Iıh, kaybolmayacak; dalgalar onu alacak, sen nereye gidersen git, senin gittiğin yerin kıyısına bırakacak.
Tumblr media
9 notes · View notes
whoever-the-heck · 4 months
Text
Tumblr media Tumblr media
They're so freaking cute it's killing me. I dread what's coming next.
6 notes · View notes
faintingheroine · 9 months
Text
Okay, the first still from the new film “Bihter” is out and it is going to be on Amazon Prime. (Yes, the film’s name is “Bihter”, this film is personally specifically made against me!)
Tumblr media
Based on costumes I am guessing that it will be set in 1920s-30s (early Republican period - Atatürk’s time) instead of in 1890s like the novel.
I can’t help but think this is just so that they won’t have a Bihter, an adulteress, who wears çarşaf (hijab).
(All Turkish women, independently of their level of religiousity, wore hijab in 1890s and so does Bihter in the book, but they didn’t in 1920s-30s)
@literatureismyentirepersonality @pileofsith @princesssarisa @ariel-seagull-wings @artemideaddams
19 notes · View notes
r69manova · 6 months
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
«I would like this moment to last forever».
2 notes · View notes