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Four characters, four screens. The audience immersed, as stupefied as in a shopping mall electronics shop. Your attention flickers, trying to take it all in, not miss crucial details. The work seems unlimited in all directions, and it’s dazzlingly overwhelming. But you adjust to the overload. You realize the sound design is gently guiding your attention from screen to screen. You can make your own interpretations, even your own edit, your own film. So you discover moments that seem like outtakes: delightfully unexpected, notable non-incidents in the character’s lives that would usually be off-screen. But here, there is no off-screen.

Composed of 8 episodes that are each about 6 minutes long, the drama tells interesting stories of a couple in an office-dating relationship. Even though each clip is short, the web drama as a whole offers various sides of office dating such as heart-throbbing moments before the relationship blooms and little misunderstanding and difficulties arise in a relationship.

Maria Garcia (Carmen Maura) is a television journalist and she's about to be a single mother. Her career foremost in her mind, she doesn't slow down even for a minute, despite her pregnancy. She is, however, taking Lamaze classes and is quite competently coping with the romantic attentions of a man she's not very interested in. It's not at all irrelevant that her news beat includes stories on terrorism, the greenhouse effect, pollution and genetic engineering, because when her baby's due date comes and goes, she starts hearing from her infant from in the womb. It is telling her that it and many other babies are refusing to be born into such a horrible world. She learns that this is true, and that the children born through induced labor are dying.

At the beginning of the 20th century, the arrival of a man on the Breton coast near Saint-Malo fills him with awe as he observes the devoted, courageous sailors and their wives waiting for them on the shore. Among them is a young laundress, whose charm does not leave him indifferent, waiting for her beloved, who left for sea months ago. When the ship returns, her fiancé is dead. He then decides to join these valiant men and, through his dedication, prove his love to the young woman.

Young-Hoon works for his mother’s restaurant, but he prefers hanging out with his friends. He then meets Yeun-ah, a tough lady that works in a room salon as a barmaid. She takes the initiative by coming to his restaurant, when he is working, and propositions him in a playful way. They become a couple, but their relationship is always volatile. They fight constantly (physically and verbally), but the next moment kiss and make up. Meanwhile, Young-Hoon already has another girlfriend, who is his finance!

Borrowing words from Laura Mark's 'Transnational Object' and DW Winnicott's 'Transitional Object', all carefully etched into the 16mm film surface, Nazli Dinçel's latest work BETWEEN RELATING AND USE is an attempt to work ethically in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards – on how we use our lovers.

A common day in Stockholm some people face major changes. The owner of a fur shop meets an animal rights activist. A priest has restrictions on Saint Lucy's Day. An old woman evicts and a young man disappoints his father.

Borrowing words from Laura Mark's 'Transnational Object' and DW Winnicott's 'Transitional Object', all carefully etched into the 16mm film surface, Nazli Dinçel's latest work BETWEEN RELATING AND USE is an attempt to work ethically in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards – on how we use our lovers.

In the dusty streets of Crow's Landing, outlaws, wealthy plantation owners, runaway slaves, a half Cherokee girl, a pair of brothel owners and a woman days away from giving birth all end up in a bloody shoot out and running for their lives.