the phaeton and the horse, and shared the money - according to the debts of Cabber - between themselves. Cabbar is plunged into despair. A friend of Cabbar, Hasan, has been waiting for the turning up of a buried treasure for Cabbar. In his helplessness, Cabbar lends himself to Hasan's illusions. After a preacher's faith healing sessions, Cabbar, Hasan, and the preacher go on treasure’s way. In the second half of the film, this search for the unfindable treasure is narrated. This search is a natural continuity of the gradually worsening events, which makes Cabbar take refuge on the preacher, in whom he had no belief at all at the beginning of the film. Güney set down three alternatives for Cabbar: First, he goes after the preacher and searches the treasure; second, he continues to show attitude of expectancy in the lottery tickets; third, he takes part in an organized opposition with other phaeton drivers. However, Cabbar runs away from political and social activities and lastly he becomes a victim of empty promises. He escaped realities and looks for shelter in fantasies. Güney could make Cabbar politically conscious, even make him the leader of this opposition, and lastly lead him to success or failure, but Güney chose to leave his protagonist blind. The film finished with an interesting and striking scene. Cabbar, who left his wife, children, and mother desperate in the cause of treasure search, opens his hands to a God, whom he does not know, he begins to turn around in the middle of arid lands. He has gone mad. Analysis Güney asserted before any political action can be organized to change the economic system, the would-be actors must abandon the idea that they possess a self profoundly different from other selves, that they pursue a destiny which is uniquely their own as individuals. The basic aim of Umut is to demonstrate that people who fight alone have no alternative but to place their trust in luck (lottery) and magic (treasure hunting). Briefly, Güney tried to show ideology as ideology to those who would claim that Cabbar’s situation is a natural state of affairs. As Althusser has stated, consciousness of an ideology as ideology, is the moment in which ideology explodes, revealing the reality it had obscured. This film, which carries some traces from Güney’s own life, manifested itself with its ability to describe the story with an