In the year 1996, against the backdrop of Turkey’s escalating tensions between religious and secular ideologies, a poignant and thought-provoking film, Yurt, takes us on a journey through the life of a fourteen-year-old boy named Ahmet (Doga Karakas). Raised in a secular environment, his world is upended when his recently converted father (Tansu Bicer) decides to send him to a dormitory, known as a “Yurt”, to study the teachings of Islam and its principals. Ahmet, eager to be the son that his parents want him to be and desperate to live up to his father’s newfound faith, decides to stay at the school, which tests the very core of his identity.

Ahmet’s life takes an intricate turn as he finds himself caught between two vastly different worlds. Within the confines of the Yurt, he grapples with the rough and unfamiliar dynamics of his fellow residents, leading to a deep sense of isolation. In stark contrast, his secular day school becomes a place where he must conceal the existence of his new home from his classmates, further compounding his feelings of estrangement. 

In this turbulent period of Ahmet’s life, a glimmer of hope emerges in the form of Hakan (Can Bartu Arslan), a very resourceful young friend. Hakan, well-versed in navigating the intricate systems within the Yurt, becomes Ahmet’s confidant and ally. Together, they build a deep friendship, one that offers solace in the midst of their challenging circumstances.

Ahmet and Hakan, two young souls bound by their shared experiences, dare to dream of a life beyond the confines of the Yurt and societal expectations. Together, they “scream” for the freedom to make their own choices and shape their destinies. 

Yurt’s narrative unfolds through a striking visual transformation that mirrors the complex interplay of faith, freedom, and identity. The deliberate choice of a black-and-white palette for the film’s initial hour poignantly captures the constraints of a world steeped in religious rigidity. Within this world, there exists a stark duality where one is either deemed devout or labelled an infidel, leaving no room for nuance. The black-and-white cinematography by Florent Herry, SBC, accentuates the clear-cut nature of life within the Yurt, where every action and belief is unambiguous. It also shows the unwavering adherence to strict Islamic rules, mirroring the visual dichotomy of this world. However, as the film progresses, a remarkable change takes place. Ahmet and his friend Hakan embark on a daring escapade that sees them breaking free from the confines of religious dogma, and this particular moment in the film is marked by a shift from black-and-white to vivid colour. And as Ahmet and Hakan run through the city streets, stealing moments of exciting freedom, the vibrant colours visually represent their liberation from the stringent Islamic rules that once constrained them.

Written and directed by Nahir Tuna, Yurt masterfully employs visual storytelling to depict the complex narrative of faith and freedom. The film is also Nahir’s first feature, and the director acknowledges that the inspiration for Yurt was drawn from personal experiences. Much like the film’s protagonist, Ahmet, the director spent a significant portion of his life in a religious boarding school. The film portrays the harsh separation from family, the abrupt adaptation to new surroundings, and the weight of familial beliefs. 

Yurt is a little cinematic gem that explores the complexities of identity, religion, and friendship through a deeply personal lens. With its autobiographical elements and fascinating narrative, the film gives the viewer an opportunity to reflect on the lasting struggle for individuality within the confines of societal expectations. 

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Written by Maggie Gogler

Featured image – YURT (c) PYRAMIDE INTERNATIONAL