Gözcü is a film that offers a critique of systems from within. This critique is conveyed through a fictional triangle consisting of an agent–observer and a prey. The observer represents the system itself, the agent represents the executor of that system, and the prey symbolizes the public. The film questions whether everyone merely performing their assigned role within their own compartment truly matters, and explores what might change when one element of this triangle becomes aware of the system and chooses to resist it. Within the story, there is a small-scale manifestation of global power structures, and this is where the origin of the narrative begins.

I was born in Turkey in 1992 and grew up in Eastern Anatolia, one of the coldest regions of the country. In 2010, I moved to Istanbul to study Physics at Yıldız Technical University, and that was when everything began to change. I had been closely connected to cinema since childhood, but studying Physics allowed me to discover the relationship between physics and cinema—a connection I have never let go of since.

By combining the principles of physics with cinematic language and storytelling, I began creating films. I also experimented with theatre during this period. Alongside these explorations, I started directing commercials and fashion films. At the same time, I followed film festivals closely and submitted my work to them. In short, this is how my filmmaking journey began.

The first film I remember watching was The Mask, but the film that truly fascinated me was 2001: A Space Odyssey.

Stanley Kubrick, Francis Ford Coppola, Alfred Hitchcock, and Ingmar Bergman. As for my favorite films, I would say 2001: A Space Odyssey, Persona, The Godfather, and more recently, Jojo Rabbit.

Yes, absolutely. The films of Kubrick and Bergman influenced me deeply in this regard. I can also include The Wizard of Oz among them.

The biggest challenge I faced was definitely the extreme cold of the region. I’m talking about temperatures reaching around –30 degrees, along with the geographical difficulty of access. All of this significantly limited our mobility and made the entire process much more challenging.

The most prominent feeling audiences experienced while watching the film was a sense of unease, which was exactly the emotion we aimed to convey. I remember that the film’s pacing and its unexpected narrative turns were discussed a great deal. Some viewers mentioned that the film’s language and storytelling felt like a form of narration they had not encountered in a long time, which of course made me very happy.

I believe that when a director can develop a classical yet cinematic world through their own originality and language, they begin to form their own cinema. This is where true success starts. Rather than completely rejecting tradition, it is essential to show how one can use traditional techniques as a foundation and transform them into something new.

Festivals are extremely important for films and filmmakers. They matter greatly in terms of visibility, networking, and the ability to reach audiences you could never have anticipated. They are also crucial for keeping the cinema industry open to discussion and universal, and for enabling films that might not otherwise be able to compete to become competitive.

Now there is a feature-length film next. I will start shooting this film in 2026. I have many stories to tell. I will also be releasing a book in 2026. Starting this year, I want to focus solely on creating and making films, and I am taking my first steps in that direction in 2026.