The case cohesion in this film was well done, and the storyline was quite eccentric. The main character, Dilara, is a prominent movie and theatre star in Turkiye, and her boyfriend and co-star, Serkan, is a sleazy drug-abuser. Adding to the mix is a secondary actress who is jealous of Dilara. In the film, Dilara is cast in a shampoo commercial playing the role of Handan, a banker with a distasteful older husband and two children. Dilara dislikes this role, which leads to numerous retakes during filming. However, during one of the shampoo commercial scenes, she finds herself mysteriously transported into Handan's life stuck with husband Necat - a world away from being an actress. She begins conspiring to find a way back to her own life as Dilara.
While the chemistry between Serkan and Dilara was well portrayed, and their relationship as self-centered people was solid, the execution of the film's ending was poor. There was no resolution to the storyline involving Handan's affair or her fraud, nor was there any conclusion to the money being thrown from the roof. Additionally, there was no resolution to Handan's daughter's apparent understanding that Dilara was not her real mother and asking when her mother would return. The film's ending was abrupt, with Dilara returning to the shampoo commercial and realising that her experience as Handan was real when she noticed a burn on her arm.
The type of meta-humour or "out of body experience" humour in the film was concluded lazily by the writers, and even for a movie based on metafiction, it needed a stronger conclusion. However, Neslihan Atagul's performance was, as always, incredible. Although, it could be argued that her character could have benefited from a stronger comedic angle, rather than solely relying on emotional, confused, and snarky moments for a lighter overall finish.
