Berlin, Germany – – İlker Çatak’s “Yellow Letters” has claimed the Golden Bear, the highest prize at the . The Turkish-German drama, a poignant exploration of creeping authoritarianism and its impact on personal relationships, resonated deeply with the jury, led by veteran filmmaker Wim Wenders.
The win marks a significant moment for Turkish cinema, with Emin Alper’s “Kuruluş” (Liberation) also taking home the Silver Bear Grand Jury Prize. Both films, tackling complex socio-political themes, underscore a powerful presence of Turkish storytelling on the international stage.
“Yellow Letters” centers on two celebrated actors in Ankara who find their lives upended after falling out of favor with the political establishment. The film’s title refers to the color of the official dismissal notices they receive, a stark symbol of the pressures faced by artists and intellectuals in a shifting political landscape. Starring Özgü Namal and Tansu Biçer, the film was shot in Germany, with Berlin standing in for Ankara and Hamburg for Istanbul, a decision producers emphasized was intended to highlight the film’s “universal” themes rather than avoid potential repercussions from Turkish authorities.
Wim Wenders, announcing the jury’s decision, described the film as giving the jury “chills” with its warning of “signs of despotism” and a potential for repression that extends beyond Turkey’s borders. “This film will be understood worldwide, I promise you,” Wenders stated, acknowledging the film’s timely and resonant message.
Çatak, whose previous work, “The Teachers’ Lounge,” received an Oscar nomination in , expressed his gratitude, acknowledging Wenders as a mentor. “You are one of my teachers, so it’s such an incredible thing to accept this from you,” he said.
Alper’s “Kuruluş,” meanwhile, delves into the fraught relationship between the Hazeran tribe and the Bezariler, who are returning to their ancestral villages after years of displacement, focusing on a land dispute. During his acceptance speech, Alper used the platform to express solidarity with those suffering in Gaza, Rojava, and Iran. He also extended a message of support to imprisoned Istanbul Mayor Ekrem İmamoğlu, former HDP co-leader Selahattin Demirtaş, and the detainees from the Gezi Park trial – Osman Kavala, Çiğdem Mater, Mine Özerden, Tayfun Kahraman, and Can Atalay, stating, “You are not alone.”
The festival’s awards also recognized Lance Hammer’s “Queen At The Sea” with the Silver Bear Jury Prize, Grant Gee’s “Everyone Digs Bill Evans” for Best Director, and Sandra Hüller for Best Actress for her performance in “Rose.” Anna Calder received the Silver Bear for Best Supporting Actress for her role in “Queen At The Sea,” while Geneviève Dulude-de Celles was awarded the Silver Bear for Best Screenplay for “Nina Roza.”
The was not without its own controversies. Wim Wenders faced criticism for comments made at the festival’s opening regarding the role of filmmakers and their relationship to politics. Wenders had argued that filmmakers should remain outside of politics, asserting that their role is to focus on the human experience rather than engaging directly in political activism. These remarks sparked debate within the industry, raising questions about the responsibilities of artists in a politically charged world.
The success of both “Yellow Letters” and “Kuruluş” at this year’s festival signals a growing international recognition of Turkish cinema’s ability to tackle complex and relevant themes with artistic depth and political courage. The films’ wins are likely to further elevate the profiles of both İlker Çatak and Emin Alper, solidifying their positions as leading voices in contemporary filmmaking.
“Yellow Letters” offers a timely and unsettling portrait of a society grappling with increasing authoritarianism, while “Kuruluş” provides a nuanced exploration of historical grievances and ongoing conflicts. Both films, in their own distinct ways, demonstrate the power of cinema to provoke dialogue, challenge assumptions, and shed light on the human condition.
