Films by Yılmaz Güney provide the history of cinema in Turkey with a cinematic comprehension that is thoroughly competent at reflecting the economic, social, and political problems of the country. A remarkable part of Güney's films subjects the social problems of Anatolian peoples to an in-depth analysis approach which is equipped with class consciousness. By virtue of Güney’s class-based theoretical perspective, his films widely differ from the Social Realist cinema tradition in Turkey, which developed around 1960-65 and had an explicit humanistic emphasis on solidarity (Daldal, 2013). Thereby, in most of the artistic works by Güney, including those which mainly concentrate on individual stories of particular protagonists, it is possible to trace explicit hints of a societal examination, which sheds light on the socio-economic dynamics of Turkey.