This study investigates a sample of popular comedy films G.O.R.A. Bir Uzay Filmi (Ömer Faruk Sorak, 2004), A.R.O.G: Bir Yontma Taş Filmi (Ali Taner Baltacı & Cem Yılmaz, 2008) ve Yahşi Batı (Ömer Faruk Sorak, 2009) against a sample of art films Mayıs Sıkıntısı (Nuri Bilge Ceylan, 1999), Bekleme Odası (Zeki Demirkubuz, 2003) and Neden Tarkovski Olamıyorum (Murat Düzgünoğlu, 2014) in terms of (self)reflexive aspects. This investigation aims to question whether (self)reflexivity creates an efficient political and/or critical distance and whether this is adequately transferred to viewers. </p
