Martin Scorsese doesn't know what he's missing. With a domestic camera, a tripod and a fixed plane, a guy who seems to come out of an 'after' -dark, worn and open shirt showing the golds, a somewhat emaciated face, long clothes and a thick voice- he has been clinging to millions of Turks to the YouTube screen. It is Sedat Peker (Adapazari, 1971), the last exponent of that 'cani' Turkey in which gangsters, politicians and policemen exchange interests and, along the way, unconfessed secrets.