The Eastern Mediterranean has been a source of many cautionary tales over the course of history, dating from before Aesop to the present day. The director of Hakki, Hikmet Kerem Ozcan, brings us another one. Hakki is a man who has lived a seemingly well-balanced life in a small village off the Aegean Sea. He is now middle-aged with good friends and a happy and loving family. He supports his family by guiding tourists and selling replicas of historic artifacts. In one of the first scenes, he muses wistfully to the tourists about the loss of the originals through exportation. He is a man who trusts in the goodwill of others and operates mainly in a sharing world of give and take with his neighbours. Just by chance he finds a valuable ancient artifact on his property, which with the help of a friend he manages to sell for what he thinks is a substantial amount; enough to buy a car. This act exposes the first small crack in the foundation of his being, opening the door just ajar. Later he hears that it sold on the international market for ten times more than he was paid. This becomes a tripping stone on the edge of the precipice. Hakki starts to tumble down the black hole of greed, one of the seven deadly sins. Through the exacting eye of the cinematographer, Burak Baybars, we follow Hakki (Played by Bulent Emin Yarar) on his obsessive path as he tunnels through the foundations of his house looking for more artifacts. The complicated maze this creates, both in the foundation of his house and in his core being, is something he cannot escape. He hollows out his house and its foundations, his relationships and his inner self. One of the first things he loses is authenticity, then his trust in others, then his friends, his family and himself. He sees it all slip away but he cannot stop it. In the opening scene, which is the last scene, there is a momentary flash of truth as he catches his reflection in the mirror and sees what he has become. The film cleverly ends a step before the first scene creating a never-ending loop for Hakki. The characters are all portrayed with exaggerated personalities which creates an unevenness in the story telling. Hakki's wife, played by the perfectly cast Cem Zeynel Kelic, was a little too stoic and long- suffering. The buyer was a little too nefarious, Hakki was a little too open and generous in the beginning and became a little too distrustful and frenzied at the end. However, this is a good story, well told.