"In a recent interview reproduced at the end of this catalog, Demirkubuz says, “I think two high level positions must be created: shame and confession. I believe that a better life could be built only on these two positions. Neither the development of technology nor modernity can solve the problems of humanity in the absence of shame and confession, which are the greatest inventions of humankind―the most sublime levels that humanity can ever reach.” In Confession, the shame and guilt carried in their hearts destroy Harun and Nilgün’s relationship and their lives. Ironically however, confronting this guilt is what liberates them and provides them with a slight possibility to start anew. What can make us evil, is what makes us human." Berke Gol, Mental Minefields: The Dark Tales of Zeki Demirkubuz, 2007

"Framed first as a mystery, then as a domestic dispute and finally as a new beginning, Confession (Itiraf) reveals its layers with deceptive simplicity. It's undoubtedly Demirkubuz's most accomplished movie to date, replacing the pessimism and quirkiness of earlier pics like Innocence (Masumiyet) and Third Page (Ucuncu Sayfa) with a more mature, more optimistic view of human relations." Derek Elley, Variety, 2002.

"Demirkubuz’s abrupt style of editing is well suited to this story. Large periods are skipped across with no notice. Years pass by in a flash but there is a clarity of moral vision at work. Near the end, one of the characters remarks that “Nothing is over. It is the time that passes.” Not quite true: sympathy and acceptance can be nurtured in Demirkubuz’s world." Robert A. Haller, 2003

"...Having completed the Camus portion of the course with Fate (Yazgi), we move on to Sartre and his notion that Hell is other people. Things matter all too much to the hero of Confession (Itiraf) (2001), a flush businessman who’s tormented by the suspicion that his wife is cheating on him. And well he might be concerned: she cheated on his best friend years ago — with him — and his friend committed suicide. As the Bergmanesque psychodrama plays out, the confession of the title comes from an unexpected source; the resolution is punishing and desperate but also life-affirming. Powerful performances from the cast and taut directorial control make this an emotionally exhausting workout…" Peter Keough, The Providence Phoenix, 2004