.jpg "Venice - Edge of Night (Gecenin Kıyısı)")
AM: What creative processes did you undertake in preparation for the film, including brainstorming sessions and research activities?
TS: The film is set in a military context, so it was essential for me to accurately portray the customs and practices of that environment. This naturally involved extensive research. One significant advantage of research is that it not only helps you represent various elements “correctly,” but it often generates fascinating ideas and insights for the characters and the narrative. Therefore, research was particularly important for this project. However, I also wanted to avoid feeling constrained by it. I allowed myself some creative liberties because, for me, the military backdrop was never the main focus; instead, it served as a framework to tell the story of the two brothers. My goal was to place these two individuals in situations that were as uncomfortable as possible—experiences that would evoke feelings of shame—and to observe how they would navigate those challenges. Individuals who experience shame often possess a poignancy and a deeply human quality that I find intriguing.
In addition to research, what proved immensely helpful and crucial for me were lengthy and in-depth discussions, especially with my cinematographer, Matteo Cocco, about the kind of film we were creating and how we wanted to tell the story. This phase brings me immense joy, likely because everything feels possible at this stage. In contrast, when the harsh reality of the shoot sets in, you often find yourself fighting for every extra or making compromises elsewhere. However, even in those moments, discovering solutions to these challenges can be incredibly satisfying. I also revisit the works of directors who have inspired me, as a reminder of what is possible. Nonetheless, there comes a point when I need to let go of all that influence and allow the shoot itself to become my primary source of inspiration.
AM: What were some of the key challenges you encountered while filming on set?
TS: Shooting in Turkey was particularly meaningful for me due to my Turkish roots, which create a deep connection to this country. Although I grew up and currently live in Germany, it had long been my dream to make a film in Turkey. The main challenge, of course, was bringing each scene to life in front of the camera and, within the limited time we had, filming it in a coherent way that effectively conveyed our story. I think many directors share similar feelings about the constraints of time. Each morning, it was a strange experience to arrive on set with empty hands and nothing but uncertainty. Thus, it was incredibly satisfying to see everything accomplished by the end of the day, or at least the essentials. Having supportive collaborators, from the cinematographer to the actors, was instrumental in making this happen.
At the end of the day, making a film is also a highly physical endeavor. It’s surprising how physically exhausting the process can be, making adequate sleep crucial, especially when transitioning from daytime to nighttime shoots. However, I’m not complaining at all. It was a wonderful experience, particularly collaborating with my director of photography and the two lead actors, Ahmet Rıfat Sungar and Berk Hakman, who allowed me to delve deeply into the complex dynamics of the brothers.
AM: What prompted you to choose two brothers as the lead characters, and how do you view the overall dynamics of sibling relationships?
TS: I have always been fascinated by family conflicts. Characters who, under normal circumstances, might have little in common—or may even despise one another—are, in a sense, bound together for life. Additionally, the conflicts and struggles within families often reflect the society in which they exist. I find these human contradictions intriguing, especially the cracks and scars that these conflicts leave behind. By choosing two brothers as the main characters, I was able to explore themes of loyalty, identity, and betrayal more deeply. The brothers in my film grow up in an environment shaped by mistrust and prejudice. I am particularly interested in how they develop different strategies to navigate their circumstances—one opting for adaptation and the other for rebellion. Family conflicts are universally relatable, though family ties in Turkey—and among Turks—seem to carry a particular strength or perhaps take on a larger significance. However, it’s important to note that this is not something that can be generalized.
AM: The characters illustrate various struggles of the current generation in the region. Would you consider this film to be political in nature? What key message do you hope to communicate?
TS: There isn’t a specific message; rather, there are observations and questions. I am simply exploring aspects that I am trying to understand myself. What does it mean to be a human being under these circumstances? For me, this film is not political at all, as it was never my intention. However, one could certainly argue whether everything in life is political. Although the film is set in Turkey, I believe the questions it raises are universal and relevant to any society. It examines how individuals navigate an increasingly authoritarian system that suppresses dissenting opinions. It addresses themes of polarization and uncertainty in personal relationships, as well as the struggle to remain one's true self. If viewers are moved by the film and inspired to reflect on their own lives while engaging with the themes presented, I will have accomplished far more than I could have hoped for.
AM: Representing Turkish cinema at the Venice Film Festival is a significant milestone. What do you hope this festival will contribute to your career and to the broader industry?
TS: Many Turkish and Turkish-influenced films have previously found success at the Venice Film Festival. This year, there are several Turkish films featured as well, so in that regard, we are certainly not alone. However, for me personally, this opportunity is very significant. I have a deep appreciation for Italian cinema from the 50s, 60s, and early 70s, which has undoubtedly influenced my work. Additionally, Akira Kurosawa won the Grand Prix for Rashomon here in Venice, which is something I hold in high regard. Therefore, I genuinely appreciate the idea of our film beginning its journey in Venice. Festivals like Venice play a crucial role in helping films gain visibility. Beyond this apparent benefit, they also (hopefully) serve as a pathway to secure financing for future projects. As for what this could mean for my career, you might need to ask me again in five years, and then I can share how everything has unfolded.