Aso’s 75-year-long life is filled with two important occupations. After helping her close friend Latife during labour thirty years ago, she was renowned in the region and became a well-known midwife, practicing for almost twenty years. Upon Latife’s death, Aso’s second occupation begins: on her final wish, she washes Latife with her own hands, as dictated by religious tradition. Thus, she becomes a “dead washer”. Even though she continues both occupations together for some time, lately she has quit midwifery, and now she only washes the dead. Aso travels from the city to the village with her granddaughter Asya when she finds time, wishing to entrust her legacy to someone else, all the while she confronts death, knowing that the end of her days are near. “The film tries to question life and death through Aso’s perspective while not clinging onto the

notion that each death is a new birth. On the one hand, the film structures the story of Aso’s life, while on the other hand, it tries to state that death is as real a reality as birth, and that it is innate to birth.” – Zekeriya Aydoğan