Selcen Ergun
HOW TO DISAPPEAR IN THE LAKE
In a lakeside town surrounded by towering trees, where grief, fear, and rumour linger, a wild-hearted ten-year-old girl is cast as both saviour and threat after discovering a woman’s body reclaimed by the forest.
SYNOPSIS
Ten-year-old İmre moves through the world with a raw, intuitive, almost punk-like energy that doesn’t quite fit what people expect from a little girl in a quiet lakeside town. While playing a game in the woods, she discovers a woman’s body that is covered and entangled with wild plants, as if reclaimed by nature itself. Soon after, whispers begin to spread. People start to say İmre may carry something inherited from her late grandmother – a woman who listened to other women, eased their pain, brought them calm and, some believed, even healed them. And for exactly those reasons, fear grew silently around her. One day, a suspicious fire broke out in her house. She disappeared in it. Now, amid whispers of carrying this rumoured shamanic inheritance – something İmre never asked for – every little thing around her suddenly starts to take on meaning. Another sign. Another proof. Yet, this is not the distant past. This is today. And still, when fear and grief enter their lives, people look for something to hold onto – even if that thing appears to be a little bad-ass girl who does not want to be anyone’s saviour. Fear is already spreading through the town. A disease, believed to have come with wild animals that have escaped the forests, stirs anger and accusations. People begin turning towards İmre with their hopes, grief, and quiet requests. At first, the children are fascinated by her. But fascination turns into fear; fear turns into cruelty. As the unknown grows, the town looks for someone to blame. And for the first time, İmre begins to wonder whether the thing everyone fears in her might actually exist.
DIRECTOR
Selcen Ergun
PRODUCER
Diloy Gülün
PRODUCTION COMPANY
Karma Films, Albino Zebra Film
COUNTRIES
Türkiye
Selcen Ergun
DIRECTOR’S BIOGRAPHY
Selcen Ergun is an Istanbul-based filmmaker whose work explores belonging, otherness, and the fragile relationship between people and nature through intimate, character-driven stories. Rooted in place, atmosphere, and collective memory, her films often focus on women and those who struggle to belong, navigating environments shaped by inherited beliefs. An alum of Berlinale Talents, she was selected for the 2018 Berlinale Talents Script Station and invited to the 2019 Medienboard Berlin Artist-in-Residence. She is a member of the European Film Academy. She holds an honours degree in industrial design and visual culture and a master’s degree in directing and screenwriting, and has written and directed several award-winning short films. Her debut feature-length film, Snow and the Bear, had its premiere at the Toronto International Film Festival in the Discovery section. The film was nominated for the Asia Pacific Screen Awards and, following a strong international festival run including stops in Palm Springs, Seattle, Hamburg, Shanghai, Goa, Marrakech, and Sydney, received several international awards, among them the New Directors Award at the San Francisco International Film Festival. She was invited to the scriptwriting residency at the Cité Internationale des Arts in Paris, supported by CNC, where she is currently developing her second feature, How to Disappear in the Lake.
This is the story of a ten-year-old girl forging her own path, navigating her place in a world that begins defining her before she can define herself. Blending Anatolian folk mystery, childlike imagination, and a raw, punk-like childhood energy with intimate emotional realism, in How to Disappear in the Lake, I explore fear, otherness and the search for compassion within a community looking for someone to blame. It is set in a lakeside town surrounded by towering trees, which is actually the town where I spent all my summers when I was sent to stay with my grandmother. It was a place that felt magical but also isolating. I grew up amid what was not said: glances, rumours, unspoken rules. Amid superstition and the quiet resilience of women like my grandmother, I began seeing how fear circulates quietly, attaching itself to bodies, especially female bodies, and how communities look for one to carry what they cannot face. Now, I return to this town through İmre’s eyes. Told from her intimate perspective, the story blurs reality and imagination in a world where tenderness and cruelty coexist, and compassion turns into defiance. It draws from animistic and matriarchal knowledge, still surviving quietly in places like the one I grew up in. Within it are small, often invisible moments in which women carry one another through hardship with humour, care, and a gentle determination, and begin to heal what has been carried alone for so long. This is something I recognise as a hopeful space in the world today.
DIRECTOR’S STATEMENT
Diloy Gülün
PRODUCER’S BIOGRAPHY
Following her 2001 San Sebastián International Film Festival award-winning debut feature, Boats out of Watermelon Rinds, Diloy Gülün founded Karma Films in 2003. In addition to producing the 2018 Sundance World Cinema Dramatic Competition Grand Jury Prize winner Butterflies, she co-produced the 2023 Sundance Audience Award winner The Persian Version and the 2022 Berlinale Panorama winner Convenience Store. She produced Between Two Dawns, which premiered in San Sebastién and won the award for Best Film at the Torino Film Festival in 2021, and Hesitation Wound, which had its premiere at the Venice Film Festival in the Orizzonti section in 2023 and was selected for competition at the European Film Awards. Her most recent co-production is Tarik Saleh’s Eagles of the Republic, which premiered in the Official Competition at the Festival de Cannes in 2025. Since the founding of Karma Films, Gülün has also serviced numerous feature films, including Elizabeth Banks’s Charlie’s Angels, Ron Howard’s Inferno, Olivier Megaton’s Taken2), Mira Nair’s The Reluctant Fundamentalist, and Tom Tykwer’s The International, as well as documentaries and commercials.
PRODUCER’S STATEMENT
I have closely followed Selcen Ergun’s previous work, drawn to her cinematic language, which feels both precise and instinctive. With Snow and the Bear, this sensibility found its full expression in a debut feature grounded in rich atmosphere, an intuitive connection with nature and unspoken emotions. Reading How to Disappear in the Lake, I recognized the same force, now carried by a story that is deeply personal yet firmly engaged with the world today. Through the eyes of a young girl, the film explores a growing sense of self, collective fear, and a fragile yet defiant form of resistance. It speaks about how communities look for meaning when faced with uncertainty, and how quickly fascination can turn into fear when a girl does not fit the role expected of her. These questions continue to occupy my thinking, both as a producer and personally, perhaps now more than ever in a world increasingly shaped by fear and uncertainty. I believe this is a film that can speak from a very specific place while reaching audiences far beyond it, through its poetic imagery, sensitivity to the bond between humans and nature, and deeply human exploration of fear, grief, and otherness. We are committed to developing the project as a carefully built international co-production that supports Ergun’s artistic vision and gives the film the space, partners, and structure it needs to fully come to life.
Production company profile
Founded in 2003, Karma Films is an independent production company based in Istanbul, that is dedicated to auteur-driven cinema, international co-productions, and discovering new strong voices. Its films have premiered and received awards at major international festivals including Cannes, Venice, Sundance, the Berlinale, and San Sebastián. In 2025, Eagles of the Republic competed at Cannes for the Palme d’oO. Additionally, Karma Films delivers top-tier production support for international filmmakers in Türkiye and has serviced films such as Charlie’s Angels, Inferno, and Taken 2, among many others.
Where are we at?
TOTAL ESTIMATED BUDGET
900.000, €
FINANCES PENDING
726.000 €
FINANCING IN PLACE
176.000 €
Production timeline
2026 - 2027
Project development and financing
Spring 2028
Pre-production
Summer 2028
Principal photography
August 2028
November 2028 Post-production
2029
World Premiere