Ertem Eğilmez (1929-1989) had an extraordinary ability to feel the pulse of the audience. After a short period of fluctuation in the first years of his filmmaking career, Eğilmez made a big breakthrough with Sürtük (1965). He maintained this success throughout the 1970s. As the family audience held back from the movie theaters, the wheels of Yeşilçam started to turn to meet the expectations of the lumpen audience this time. Production of sex movies that marked the second half of the 1970s were cut off suddenly by the 1980 Turkish Military Coup d’état. The emergent gap was filled by arabesque films. Eğilmez fiercely criticized the arabesque trend that dominated in the music and film markets in the 1980s in his latest film Arabesk (1989). Arabesk were examined by the method of cinematic discourse analysis in this study. This study aims to put forward that Arabesk revealed a potential audience that has a good taste in films and keeps away from arabesque culture and Yeşilçam melodramas. Arabesk, which announced the end of Yeşilçam, became the turning point of a new cinema and a new audience psychology. This audience, who laughs at the stories that their parents shed tears in the past, is quite different from the classical Yeşilçam audience. The rejection of victimization discourse and self-pity, being an actor and being able to solve their own problems are the main psychological characteristics of this audience.