Abstract Family Album follows a young university student assisting a journalist in documenting a glass workers' strike in Istanbul's Paşabahçe neighborhood during the summer of 1999. Immersed in the atmosphere of solidarity and collective struggle, she accompanies the journalist to interview Murat, a key strike organizer, in his shanty house overlooking the Bosporus. What begins as a celebration of working‐class resistance takes an unexpected turn when Murat shares his family album. Through this intimate domestic encounter, the narrative explores the complex intersections of class solidarity, state violence, and necropolitics in Turkey. The story examines the ethical dilemmas faced by those who document social movements when confronted with contradictions that challenge simplistic narratives of working‐class struggle.
Deniz Yonucu (2026) studied this question.