Part of a larger project on representations of non-normative sexualities in Turkish cinema, this paper focuses on the discourses of class and female sexuality in Turkish feminist auteur Yesim Ustaoglu's 2016 feature film, Clair Obscur (Tereddüt). Ustaoglu's film lays bare both the societal norms that govern female bodies in Turkey and the narratives of honor and sexual desire we associate with rural and urban spaces, all the while deconstructing and complicating these very categories through her feminist filmmaking practices. In this paper, I concentrate on Ustaoglu's filmmaking practices like the staging, camera angles, editing and lighting, and argue that she constructs a feminist visual narrative that works against the very discourses of sexuality that constitute the raw material of her film. Rather than read her film as a standalone feminist text, I take into consideration the larger context of Turkish cinema, which has hitherto depicted female bodies and female sexualities in markedly different (and often exploitative) ways. As an independent film with considerable national success and transnational circulation in international film festivals, Clair Obscur serves as an excellent case study for how feminist filmmakers from MENA create a new feminist visuality that departs from the male-dominated independent film industry in the region.