In Between observes the car mechanic Osman's strange but understandable relationship with Kurdishness and Turkishness. Osman is someone who can understand but not speak Kurdish, which is his mother tongue, and can speak but not understand Turkish, which is his second language, and therefore faces many problems from time to time. As examples of a minor cinema (Deleuze & Guattari), Ali Kemal Çınar’s films draft a style in which events, characters, plots and situations are by itself humorous, absurd, and political. The fixed and economical use of the camera, the creative use of sound and the amateurishness of the actors constitute the minimal aesthetics that characterize his films. In Between is a film in which humour, absurdity and surrealism intertwine with political style. That the Turkish-Kurdish issue is (along with other dimensions) a colonial issue, appears in the film through the linguistic division of Kurdish subjectivity.