Pelin Esmer’s Ten to Eleven is based on the life of her late uncle, Mithat Esmer, an 83-year old collector whose apartment is slated for demolition. Mithat’s entire apartment is an archive as he has been collecting various objects, gadgets, news clippings, clocks, voice-recordings, and virtually any preservable material since the 1950s. This semi-documentary film’s anxious negotiation of time and passing becomes, I argue, an allegory in New Turkish Cinema.