First of all, can you tell us a little about yourself?
I am a member of a family of 9 children in Mardin, which has cherished many cultures and religions for centuries. I grew up in a city that speaks Kurdish, Arabic, Syriac and Turkish. I can say that this multicultural environment fed my work. I started working at a young age. I worked in different jobs such as shoe shine, sweets sales to the public, waitress, photography. However, my encounter with art started with photography. I had the opportunity to improve myself by doing photography (at Foto Halit) for many years. However, I continued my education. In 2006, I received cinema training for about six weeks within the scope of the Kent film house opened in Mardin by the Communication Design Department of the Faculty of Art and Design of Istanbul Kultur University, and at the end of these trainings, short films were shot. The successes I showed in the workshop opened the doors for me to start my education at Istanbul Kultur University, Faculty of Art and Design, Department of Communication Design, with a 100% scholarship. This door I entered meant a new beginning and a new excitement for me. Now it was time to take a break from photography and express my thoughts with moving images. I had the opportunity to make many films and documentaries. These films were screened at national and international festivals and received awards. I would like to thank my family, friends and teachers for their support throughout this process.
How did you decide to work on documentary film?
In a documentary film, it is necessary to determine the subject and method well. Topics can be very sensitive at times. You need to have knowledge of the subject you are going to shoot. Because the subject you will tell will be watched by everyone, you should not make mistakes in this direction. We did not have taboos in this sense, but we had to have a good grasp of everything related to the subject, since the subject was multiculturalism and religious elements. We were guests at the homes of the character we chose for the shoot, and we shot for hours. After all, you enter people's private areas, at first you are afraid to cause discomfort, but they all made us incredibly welcome. Sometimes we had to shoot in a mosque, church or mausoleum or in the Synagogue, which created a different situation for each location.
What are the difficulties of documentary filmmaking in Turkey?
Documentary filmmakers generally have to carry out their work based on their own budgets. In addition, documentary projects are set out with the support of private sponsors and institutions. The hardest part of making a documentary is the financial part of the production in Turkey, because Anatolian geography offers all kinds of generosity as a subject. After making a documentary film, the screening and presentation of the film is also a separate process because we can only screen the film in national and international festivals, of course, it is necessary to directly attend the festival program and pass the sifting of the established juries. Sometimes it can be impossible to pass this mechanism. All these problems are some of the problems that may arise for a documentary filmmaker.
How good of a documentary watcher are we as a society?
As a society, our perspective on documentary is not good, unfortunately, we do not give the necessary value to documentary. I want to share a memory here; We were looking for a place to shoot a documentary. We stopped by a small restaurant on the side of the road to have a rest. After a short conversation with the waiter, we are Anatolian people. The waiter friend asks the popular question, "What are you shooting?" My assistant director jumped up excitedly and said, "We're going to shoot a documentary, and now we're looking at the venue." After the waiter thought about it for a while, “Oh, I got it, it's an animal documentary…” Unfortunately, our approach to documentary as a society is at this level, however, documentary sheds light on societies and future generations, strengthens intercultural communication, immortalizes these cultures and contributes to the development of society. As a society, we experience that documentary is not given the necessary value.
What kind of subjects do you focus on in your documentaries?
I have been working on documentary cinema for about ten years. In our work with my team, we deal with different topics such as multiculturalism, human stories and lifestyles. Of course, when the subject is people and the main theme of your film is the human story, the job becomes more serious. Because in the work you will do, you will include the subjects of his life and you will do this through the camera. This is the case for his whole life in a remote corner of Anatolia, in his village, in his vineyard, in his garden or at home, in ordinary calmness, and as he passes by, someone comes out and says, "I'm going to make a movie for you," with his camera in hand. It often takes some time for him to accept this situation. The film director has a lot of work to do here, for example, when we go to the person, it is very important how to communicate with that person, it should be in a way that will not hurt or offend him.
What do you think about the representations of the documentary genre in Turkish cinema? Do you have any hope for new filmmakers in this regard?
Thanks to the developing technology, we can see documentary films produced with new narrative styles or new perspectives, apart from mainstream documentary directors. This production process is promising.
Did you experience an event on the set that left a mark in your life or that affected you greatly?
In 2009, we were shooting the documentary "Scream", a documentary about the culture of lamentation in Mardin. The culture of lament is a tradition that still lives in Anatolia and dates back to ancient times. It is impossible to forget the voices of the deeply grieving women lamenting in these shots. In his laments, you see the longing for love, the purest and most delicate forms of love, and this had a great impact on me.
Can you talk about your perspective on the documentary? Why documentary?
Documentary cinema differs formally from fictional film, the depth and reality it contains are very meaningful for me. Here, of course, you have to use all the basic rules of cinema, you cannot make a movie without the language of cinema. You feel the sincerity and effort in the documentary, and if you grew up and lived in this geography as a culture, you find yourself in the documentary. I have always been interested in human stories and different cultures, and the best way to study this is through documentary cinema.
What do you think, how rapidly developing technology can contribute to short films and documentaries? What does it take?
When we look at the number of documentary films made over the years, we see that it is increasing every year, and this parallelism is also compatible with technology. Here, technology increases production, I think, many films are made in terms of quantity. Because the developing tools and equipment are very helpful to many directors in making their films. Since the documentary teams work with small budgets, this is a positive development for documentarians. Although the increase in the number of documentaries is nice here, it is not possible for a documentary filmmaker to buy every camera, which may have reduced the quality compared to previous productions. In the past, the film producer and director had to choose the subject well, as he had to use his budget well, he had to evaluate the time very well, the length of time meant inflating the budget. Nowadays, thanks to technology, many people find the opportunity to make films, which leads to different ideas and a new way of expression in line with these ideas. In this respect, a positive result is obtained.
Who are the local directors you take as an example, whose cinema you love?
I have people whom I exemplify in terms of documentary cinema and masters whose work I respect and inspire. For example, Süha Arın, one of the pioneers of documentary cinema, has undeniable contributions to the development of Turkish documentary cinema. I learned a lot from my master Ertuğrul Karslıoğlu Hazan Özgen For example, I am an adult whom I take as an example in terms of approach to documentary, working style, communication and style. For example, Hakan Aytekin has shed light on the Turkish documentary genre with his innovative narrative style and different approach to documentary, for example, there are other directors whose names I cannot mention, but these are the people I care about and take as an example.
What would you like to say about film festivals in Turkey and their approach to short filmmakers?
Hundreds of festivals are held every year in Turkey, if a festival cannot find a film to show, it is not possible for the festival to take place, which is one of the conditions of many festivals. However, we see that many festivals in Turkey do not give the necessary value to short film directors and producers and do not give their rights to their efforts. Many documentary films are either competed in festivals or are screened under the name of screening in compressed sessions, where there is no financial return to the producer and the thought that this work is not good when it does not receive an award. Many jury members in festivals are either composed of professors from some universities or go by a few names. Although there are many different festivals, you can see the same jury there. Or, the professors at the known university can give awards to their students in order to highlight their own institution, which means that all ethical values are lost.
Why is it necessary to make documentaries? What effect do you think it has, especially on social memory?
Documentary cinema is fed by the life style, political and cultural structure of society, that is, from people, it records what people do and records that period. Since there are independent directors, there are many independent studies in terms of approaching events, topics and ideas. All of these can trigger a lot of awareness, from the point of understanding and explaining the society to the point of being aware and thinking. As a society with little reading, documentary cinema should be an alternative warning mechanism to society.
Finally, can you talk about your future plans?
I am currently conducting my academic studies. Besides, I continue to make documentaries. I take part in many national and international festivals in my works. We have received many awards as a team here, there will be a few works that I am working on from now on. Again, touching people and containing human stories…
We would like to thank Lecturer Ahmet Bikic for answering our questions.
Films Directed, Awards Won and Festivals Attended
2009 / The Scream / Documentary/ Duration: 00:13:52
3. Fatih University Crystal Clapper Short Film Competition, Documentary Category, Second Prize. 2009
6th Snow International Film Festival, Documentary Category, Best Director Award. 2010
4th JCI Istanbul Crossroads Intercultural Dialogue Short Film Competition, Finalist. 2009
4th Second Hand Short Film Festival, Screening. 2010
4. İnönü University Short Film Festival, Documentary Category, Finalist. 2010
8th Istanbul Environment Short Film Festival, Finalist. 2010
10. İzmir Short Film Festival, National Documentary Section, Finalist. 2009
Turkish Psychiatric Association Short Film Competition, Finalist. 2010
7th Yıldız Short Film Festival, Screening. 2010
2nd International Tekirdağ Photography and Documentary Film Festival, Tekirdağ, Screening. 2012
2013/ Mama/ Fiction/ Duration: 00:04:00
1st Bosphorus Film Festival, Amateur Category, Tell Me About Your Family Competition, Best Film Over 14 Years Old. 2013
10th Snow Film Festival, Fictional Division, Third Prize. 2014
1st Young Pioneers Short Film Competition, Honorable Mention. 2016
50. Antalya Golden Orange Film Festival, Short Film, Finalist. 2013
6th İnönü University Short Film Festival, Fiction Branch, Finalist. 2013
Paris Festival, France, Screening Selection. 2013
7th Sinepark Short Film Festival, What We Remember, Fiction Section, Screening. 2013
3. Los Angeles Turkish Film Festival, Short Film Competition, Finalist. 2014
9. Early Bird Student Festival, Bulgaria, Documentary Film, Screening Selection. 2014
2nd Ankara Accessible Film Festival, Long Story Short Section, Screening. 2014
21st Adana Golden Boll Film Festival, Mediterranean Countries Short Film Competition Section, Screening Selection. 2014
21st Adana Golden Boll Film Festival, Mediterranean Countries Short Film Competition, Fiction Category, Finalist. 2014
3. Los Angeles Turkish Film Festival, Short Film Competition, Finalist, Screening. 2014
1st Bozcaada International Ecological Documentary Festival, Anke Atamer Children's Films Section Screening. 2014
1st Eurodesk International Cappadocia Short Film Competition, Fiction Branch, Finalist. 2015
7th Montreal Turkish Film Festival, Screening Selection. 2015
2013 / Last Hands / Documentary / Duration: 00:15:00
3rd ESDER Tea and Artisan Short Film Competition, Honorable Mention. 2013
3rd HAK-İş Respect for Labor Short Film Competition, Best Cinematography Award. 2014
10. Snow Film Festival, Competition Film. 2014
2015 / Guest / Documentary/ Duration:00:16:20
12th Snow Film Festival, Documentary Film Category, Third Prize. 2016
1st Young Pioneers Short Film Competition, Young Pioneers Award. 2016
1st Turkish World Traditional Film Festival, Honorable Mention. 2016
1st Ankara University Short Film Competition, Documentary Branch, Finalist. 2016
3. Seattle Turkish Film Festival, Short Film Competition, Finalist and Screening. 2016
11th Crossroads International Short Film Competition, Finalist. 2016
2015 / Tattoo / Documentary / Duration:00:20:00
1st Göbekli Tepe Film Festival, First Prize. 2016
14th İKFD National Short Film Competition, Documentary Category, Best Film Award. 2016
6. Ege Art Art Days, Short Film Competition, Documentary Category, Finalist. 2015
12. Snow Film Festival, Documentary Branch, Competition Film. 2016
9th İnönü University Short Film Festival, National Documentary Section, Finalist. 2016
2nd Golden Baklava Short Film Competition, Documentary Category, Finalist. 2016
1. Ankara University Short Film Competition, Documentary Branch, Screening Selection. 2016
11th Crossroads International Short Film Competition, Finalist. 2016
2015 / Chorus / Documentary / Duration: 00:20:00
Hasan Kalyoncu University. 1st Golden Baklava Film Festival, Documentary Category, Best Film Award. 2015
1st Doğaka Short Film Competition, Second Prize. 2015
2nd Datça International Short Film Festival, Third Prize. 2015
1st Brotherhood Documentary Film Festival, Second Prize. 2015
36th IFSAK Short Film Competition, Documentary Category, Honorable Mention. 2016
9th Istanbul International Architecture and Urban Films Festival, Screening Selection. 2015
15. Short-ca National Student Film Festival, Documentary Branch, Finalist. 2015
4. Van Lake Film Festival, İnci Kefali Cinema Awards, Documentary Category, Finalist. 2015
16th Izmir Short Film Festival, Screening Selection. 2015
1st Çanakkale Short Film Festival, Finalist. 2015
10th Crossroads Short Film Competition, Finalist. 2015
6. Ege Art Art Days, Short Film Competition, Documentary Category, Finalist. 2015
7th International Lions Short Film Festival, Screening. 2015
1st Bursa Short Film Competition, Documentary Branch, Finalist. 2015
27th Istanbul Short Film Festival, Competition Films. 2016
12. Snow Film Festival, Documentary Branch, Competition Film. 2016
1st Zeytinburnu Municipality Çanakkale Short Film Competition, Finalist. 2016
1st Eskişehir International Short Film Festival, Documentary Branch, Competition Film. 2016
1st Turkish World Traditional Film Festival, Documentary Film Competition, Finalist. 2016
2016 / In Beypazarı / Duration: 00:12:20
1st Beypazarı Short Film Competition, Second Prize. 2016
5th Hak-İş Short Film Competition, Domestic Film Category, Best Cinematography Award. 2016
15. İKFD National Short Film Festival, Documentary Branch, Finalist. 2017
2022 / Nisibis Academy / Duration: 00:16:20
2022 / Karahantepe / Duration: 00:18:00
