Three girlfriends are making a barbecue together while sharing sexual fantasies and advises about masturbation. During their time together, they will sing pop songs, and dance folk dances. They will go through talks and fights about power and womanhood. They will use gender clichés and subvert them and cast spells.
‘Kushelirabak’ moves smoothly, delicately, and sophisticatedly between a post-cliché world of folktales and karaoke in the forest. It develops into a surprising hybrid of female empowerment circles and an anger management workshop. This is performance theater, a ritual, and an event that could have quickly developed into something that one could regret later: a nightly picnic that could only take place on a stage, in a place where the movement from truth to falsehood could link together filth and holiness and renounce them while referring to them with absolute seriousness.