The 80th Venice International Film Festival recently featured an intriguing and thought-provoking film, Yurt. In our exclusive interview with Nehir Tuna, we delved into the director’s background and the deep influence it had on the making of the aforementioned film. As the writer-director of the project, Tuna shared his deep personal connection to the story, recounting his own years spent in a religious dormitory similar to the one portrayed in the film. The loneliness, strict authoritarianism, and fear-based environment he experienced during those years left a significant impact on his life, driving him to create films that explore the lives of young people enduring oppression and the trauma it inflicts.

Nehir Tuna also shared his hopes for Yurt to leave a lasting impression on the audience, emphasising the film’s potential to resonate with parents and young people alike. He also seeks to encourage parents to “reflect on the importance of nurturing their children’s well-being” while offering a relatable narrative to young individuals grappling with generational conflicts.

View of the Arts: Yurt draws inspiration from your personal experiences at a religious boarding school. Can you share more about your own background and how it influenced the making of this film?

Nehir Tuna: As the writer-director of this project, I have a deeply personal connection to the story. As a child, I was sent to a religious dormitory similar to the one in the film for five years. It was very lonely to be far from my family, and the experience of living in a very strict, authoritarian, fear-based environment was tough. 

Having been raised in a repressed environment, I have always felt a close connection to creating films that explore the lives of young people who grow up under oppression and the lasting impact of those traumas on their lives. One of my earlier short films, Virgin Island, narrates the story of a sexually oppressed young man’s quest for his own manhood in the context of a wild natural world. My next short film, Grandpa Knows Best, delves into the life of a young Muslim man torn between his conservative family duties and the love of his life. Subsequently, I created Basur, which revolves around a young fashion designer experiencing mental, creative, emotional, and sexual blocks. Lastly, with Ayakkabı, I delved into the world of an Islamic dormitory where boys live in constant fear of God.

VOA: I do love how you used the colours in the film; the striking visual transformation from black-and-white to vibrant colour. Could you explain the creative decision behind this visual shift and what it represents in the context of the story?

NT: The film briefly transitions into colour to symbolise the boy’s newfound freedom when he escapes. This stylistic choice also grounds the film in a contemporary context. However, due to the predominant use of black and white, along with the chosen aspect ratio, the film may appear somewhat dated. It’s important to note that this deliberate aesthetic decision contrasts with the central theme of the film, which underscores the ongoing presence and impact of these teachings and doctrines. Transitioning into colour serves as a means to convey a sense of continuity, bridging the narrative between the present and the future. For me, the most important thing is not to lock the story in a past that no longer exists; Ahmet is still in the present.

The decision to know at what moment to switch to colour comes from the psychological evolution of the characters. The best time, I believe, is when Ahmet feels free from the pressure of the dormitory: the colours are bright and shiny. Waking up to reality is more difficult; he has made his decisions and cannot go back. Consequently, I aimed to maintain a colour palette that is significantly desaturated, reminiscent of the previous black and white but still infused with the hues of the present, reflecting the consequences of his past decisions. The hour of maturity approaches, albeit not as bright as he had initially hoped.

VOA: Yurt delves into complex themes of faith, freedom, and identity. How did you approach tackling these sensitive topics in your film, especially considering your personal connection to the subject matter?

NT: Faith and identity are contentious issues in the modern world that resist abstract treatment and necessitate a nuanced exploration. In my story, they are embodied by my family and the religious community in Turkey. While it is essential to address these themes honestly, I often find myself wondering if I limit myself by consistently pondering questions such as “how would my father feel in this situation?” or “how would society react?”.

Nevertheless, I believe that by delving deep into these complex and personal narratives, I can explore universal truths that resonate with audiences from all walks of life, fostering empathy and understanding in a nuanced way in an increasingly divided world.

VOA: The film portrays the challenges faced by Ahmet as he navigates two very different worlds – the Yurt and his secular day school. Can you talk about the research or personal experiences that informed the depiction of these contrasting environments?

NT: I believe I was able to look at both sides objectively in regards to how they interacted with each other and how this chaos affected Ahmet’s journey.

The juxtaposition of these two contrasting institutions, each representing modern Turkey’s defining political struggle, is what imbues the story with its compelling nature. This not only enables the audience to witness the stark contrast between these two sides but also renders Ahmet vulnerable, as he is constantly concealing his true self throughout his journey into adulthood. He grapples with the weight of his father’s expectations for his future while simultaneously yearning for personal autonomy.

VOA: The friendship between Ahmet and Hakan is central to the film’s narrative. Could you discuss the development of these characters and their relationship, and how it contributes to the overall message of the film? And what was the casting process like for these two characters?

NT: All relationships are multifaceted, and sometimes it just takes a different outlook to change the nature of a bond. In essence, Yurt delves into the tale of a young boy in search of various forms of love: the paternal love he yearns for from his father, the more classically romantic love he develops for the new girl in his class, and the friendly, brotherly love he shares with Hakan, whom he regards as both a role model and an older brother figure. From my perspective, Ahmet’s journey encompasses all three of these types of relationships. Over time, he gradually realises that his connection with Hakan encompasses these diverse aspects: the love of a son, romantic affection, and friendship.

About the casting process, I knew from the beginning that I was going to work with Can Bartu Arslan, who plays Hakan, because we had already made a short film together in the past. So, I didn’t really audition for that role. With Doğa Karakaş, his ability to listen and respond during the audition was what caught my attention. He was quite comfortable in front of the camera and had a certain sense of spontaneity, which played a significant role in casting him. 

VOA: How much did Doga and Can Bartu follow the script? Did you allow any improvisation during the filming?

NT: I’m not completely strict with the material that I write. Until the very last minute, I always look for better ways to express something – a feeling, a look, or a posture. Even on set, I was taking alternative shots, one with the exact dialogue written just like in the script, then I started to change a word or two. And sometimes I tried it with no words. Of course, this approach isn’t suited for every scene, but when opportunities arise to make a scene less reliant on dialogue and more cinematic, I’m enthusiastic about seizing them.

Doğa and Can tend to follow the script. But there were times my actors instinctively brought something new to the table. They were able to deliver something that I didn’t think of. It comes from their talent and ability to comprehend the scene. We owe so much to our extensive rehearsal period. 

VOA: The film is set against the backdrop of Turkey’s tensions between religious and secular ideologies in 1996. How did you approach recreating this historical context in the film, and what significance does it hold for the story you wanted to tell?

NT: One of the motivations for setting the film in the 1990s was because it draws inspiration from my own experiences when I was approximately the same age as Ahmet during that era. Additionally, the film seeks to shed light on a crucial aspect of Turkey’s history – the ongoing tension between secular and religious forces, and how these two coexisted, or often didn’t. 

This tension has been present since the inception of the Turkish Republic. The story specifically delves into a period that was particularly charged, marked by the overthrow of an Islamic government through a coup. During this time, there was a strong sense of tension and uncertainty regarding the country’s future.

VOA: Yurt has been praised for its ability to provoke thought and reflection on individuality within societal expectations. What message or takeaway do you hope viewers will have after watching the film?

NT: I wish for this film to resonate with parents from all walks of life, regardless of their faith, encouraging them to reflect on the importance of nurturing their children’s well-being. Through this film, I aim to illustrate the profound consequences of certain decisions and prompt parents to contemplate their choices when it comes to their child’s education and upbringing.

Moreover, I hope to connect with young people who grapple with similar generational conflicts involving their patriarchal parents or grandparents, particularly concerning life choices intertwined with religion. This story transcends the specifics of a time and place; it speaks to a broader audience, encompassing those who have sometimes said “yes” to things that weren’t aligned with their beliefs solely to gain the love or approval of their cherished ones. My intention is to reach these young people and offer them a narrative they can relate to and find solace in.

VOA: Filmmaking is often described as a collaborative art form. How did you navigate the balance between your creative vision as a director and the input and ideas of your cast and crew on the Yurt project?

NT: My approach to filmmaking is one of continuous learning and collaboration. I see my colleagues and friends as valuable sources of inspiration and knowledge. If I believe there is a better way to express and execute an idea, I search for it through conversations with my cinematographer, interactions with my actors, and dialogues with my friends, whose cinematic vision I trust. I’m like a nerdy student who is constantly willing to learn and improve.  

Written and interviewed by Maggie Gogler

Featured Image Courtesy of PR Factory