Let me summarize the story if you haven’t watched the series yet. All characters in Ethos, women and men, are deep enough not to be symbolic but artificial enough not to be real human beings. Each woman carries the burden of representing a segment of a society on their shoulders. However, their class, identity, belief and headscarf have built high walls between them, and Berkun Oya innovatively turns his camera to these walls rather than the customary way of approaching these stories through what these women share. There is another way out of this conundrum: to be curative for one another. And one of them is their creator: the screenwriter and director of the series, Berkun Oya. There are certain men with whom they try to develop intimate relationships, but these men prove to be far from understanding their complicated emotions and ways of perceiving the world, which contribute to their loneliness. If I may use a cliché as depicted in the series, these women are lonely in a crowd. They are cleaning, cooking, taking care of children and the sick, trying to unriddle emotions, and entertaining others on the screen thus, constituting life itself. These are women who build the quotidian rather than construct a grand life narrative and order. Ethos tells us the story of a group of urban, working, lonely women whose paths have fatefully crossed without knowing each other.
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