German photographer Daniel Bert, who comes to Istanbul to do photo shoots, meets Can, who is a zenne at a nightclub, and Ahmet, who comes from a conservative eastern family.

Deniz ends up in hospital and has to face the ghosts of past. She manages to discover herself and the hidden secrets in her family drawers.

Veli Tanyeli, who died after a heart attack, is brought to the ghusl room before his burial, all the conflicts that have been hidden amongst the family came into light. Nermin, who has been imprisoned in an unhappy marriage for years, decides to settle the years after the death of her husband Veli in the ghusl room. Nermin's confrontation with Veli is actually a confrontation with herself.

Turkish modern and contemporary art, by the West, is considered as Middle Eastern, but when it’s viewed from our own land, it is seen as Western. Our position as a bridge between the East and the West is not only geographical, but also cultural; and this bridge has been a home for many great civilizations throughout the history. This rich cultural heritage and diversity is the foundation of Turkish modern and contemporary art. Approaching the western world with a more realistic perspective has turned the gaze of Turkish artists to their own land, history, people and tradition. Additionally, the personal statement tendencies of new generation artists have developed their own expression and communication methods instead of emulating the current art developments in the West.

Ayhan is a police officer who has left his job. He starts a new life in the forest house, far from the organization and everything he has been struggling with for years. During an uneasy hunt, he shoots a weasel. Karadayı, who appeared at that time, warns Ayhan about weasels. Karadayı looks like a good person despite his strange demeanor, but his prophecy about weasels is terrifying. Facing with the memories of the past at home, Ayhan also struggles with the weasel that has haunted him.