Turkey had a mass film industry long before it had an art cinema. Yeşilçam — named after the Istanbul street the production companies worked on — turned out as many as three hundred features in a good year on advances from regional distributors who effectively ordered them, and then television, video and the 1980 coup took the audience away so completely that the early nineties saw two or three Turkish films a year. It recovered in 1996 on the strength of one enormous hit, and what grew out of the recovery is a festival cinema — long, rural, extremely verbal — from a country that has taken the Palme d'Or twice, thirty-two years apart.