İlker Çatak’s Yellow Letters and Emin Alper’s Salvation both won headline honours at the Berlin film festival and show dissenting cinema is thriving in the face of Erdoğan’s repression

‘I want calm in our building,” says the landlord of a couple who have been purged from their jobs in the film Yellow Letters, before asking them to leave the premises. “We’re all responsible for keeping the calm here”. Turkish cinema, however, has never been less inclined to keep the peace. İlker Çatak’s Yellow Letters and Emin Alper’s Salvation , two politically outspoken films that examine Turkish president Recep Tayyip Erdoğan’s autocratic regime, shared the top prizes at this year’s Berlinale: the Golden Bear for Çatak and Silver for Alper.

These striking works share a lot more. Both titles are co-produced by Liman, an indie film company from Turkey. Nadir Öperli, Salvation’s producer, co-produced Yellow Letters alongside Enis Köstepen who produced and co-wrote Çatak’s film. Both in their mid-40s, they are key figures in the new wave of Turkish cinema that has risen from the ashes of Yeşilçam, the national film industry body that collapsed in the late 1980s. Aesthetically bold yet accessible, and steeped in Turkey’s rich tradition of dissent, their projects expose Turkey at a precarious moment of political repression and economic hardship.

İlker Çatak’s Yellow Letters and Emin Alper’s Salvation both won headline honours at the Berlin film festival and show dissenting cinema is thriving in the face of Erdoğan’s repression

‘I want calm in our building,” says the landlord of a couple who have been purged from their jobs in the film Yellow Letters, before asking them to leave the premises. “We’re all responsible for keeping the calm here”. Turkish cinema, however, has never been less inclined to keep the peace. İlker Çatak’s Yellow Letters and Emin Alper’s Salvation , two politically outspoken films that examine Turkish president Recep Tayyip Erdoğan’s autocratic regime, shared the top prizes at this year’s Berlinale: the Golden Bear for Çatak and Silver for Alper.

These striking works share a lot more. Both titles are co-produced by Liman, an indie film company from Turkey. Nadir Öperli, Salvation’s producer, co-produced Yellow Letters alongside Enis Köstepen who produced and co-wrote Çatak’s film. Both in their mid-40s, they are key figures in the new wave of Turkish cinema that has risen from the ashes of Yeşilçam, the national film industry body that collapsed in the late 1980s. Aesthetically bold yet accessible, and steeped in Turkey’s rich tradition of dissent, their projects expose Turkey at a precarious moment of political repression and economic hardship.

İlker Çatak’s Yellow Letters and Emin Alper’s Salvation both won headline honours at the Berlin film festival and show dissenting cinema is thriving in the face of Erdoğan’s repression

‘I want calm in our building,” says the landlord of a couple who have been purged from their jobs in the film Yellow Letters, before asking them to leave the premises. “We’re all responsible for keeping the calm here”. Turkish cinema, however, has never been less inclined to keep the peace. İlker Çatak’s Yellow Letters and Emin Alper’s Salvation , two politically outspoken films that examine Turkish president Recep Tayyip Erdoğan’s autocratic regime, shared the top prizes at this year’s Berlinale: the Golden Bear for Çatak and Silver for Alper.

These striking works share a lot more. Both titles are co-produced by Liman, an indie film company from Turkey. Nadir Öperli, Salvation’s producer, co-produced Yellow Letters alongside Enis Köstepen who produced and co-wrote Çatak’s film. Both in their mid-40s, they are key figures in the new wave of Turkish cinema that has risen from the ashes of Yeşilçam, the national film industry body that collapsed in the late 1980s. Aesthetically bold yet accessible, and steeped in Turkey’s rich tradition of dissent, their projects expose Turkey at a precarious moment of political repression and economic hardship.