In a wide-ranging discussion that moved well beyond festival chatter, leading figures in Türkiye’s film and television sectors said Turkish cinema stands at a “decisive moment,” arguing that its long-discussed global potential can only be realized through sustainable production models, universal storytelling and stronger international partnerships.
During a panel discussion at the 13th Bosphorus Film Festival’s Bosphorus Talks series held at the Atatürk Cultural Center’s Yeşilçam Cinema, sector figures offered comprehensive assessments of data on the structural shifts reshaping Türkiye’s film and television industry.
TRT Cinema Director Faruk Güven said Turkish cinema suffered a steep decline after COVID-19 but noted that the Culture and Tourism Ministry’s “Cinema Festival” campaign lifted box-office numbers.
The core challenge, he stressed, is financial. “Film production costs have risen dramatically. In an equation where producers earn very little, we are not in a sustainable position. If they do not produce, this wheel will not turn.”
He added that exports should not be viewed solely as commercial returns. TRT co-productions succeed, he said, because “the target audience is ready and the promotion is already done,” through some hits may struggle abroad because they are produced specifically for Türkiye.
Discussing the TRT 12 Punto platform, now in its seventh year, Güven said, “We wanted people to plan their films, build connections with international festivals and form formulas between funds. More than 60 experts from over 30 countries came. Adding international co-producers to our system was important.”
OGM Pictures founder Onur Güvenatam noted that foreign buyers overwhelmingly demand romance-driven Turkish dramas. “You cannot produce a ‘male series’ in this sense. Abroad, family, love and intrigue work. Creativity stops being the priority; focus becomes whether the series will sell.”
He warned that without foreign sales, television production is becoming untenable: “Without international sales, producing any series for a channel has become truly difficult.”
Kunay Film founder Karina Mia Satlykova highlighted the strong presence of Turkish content in Russia, MENA and Asia, emphasizing early coordination with distributors. “The purpose of cinema is to reach the screen. That is why you must sit at the table with distributors during the script stage.”
She described Russia as the strongest market for Turkish films, noting that audience familiarity with Turkish actors “has a powerful effect.”
In animation, Sıyahmartı Animation Studios founder Nurullah Yenihan argued that locally coded narratives struggle internationally. “We must work with universal codes. We need three things: a message for children, humor for families and high-quality visuals.”
He noted that China’s animation market now surpasses the U.S. and that entering its market is challenging. “China is a closed box. We entered strictly through a co-production, and now we are taking our own script.”
Filming through a time of trauma
The festival also screened “All That’s Left of You” as part of its Palestine selection at Atlas 1948 Cinema. Palestinian actor Saleh Bakri said the film’s script “touched his heart,” adding, “This is the second time I am watching it, yet I still cannot stop crying.”
He said the film “does not fear diving into the core of sorrow,” contrasting it with news coverage that “does not give space to pain.”
Filming during the ongoing violence brought delays and forced location changes; Bakri said, “All the problems we experienced were nothing compared to what we saw in Gaza.” Stressing the importance of Palestinians telling their own stories, he added, “Foreigners should not come and tell our story; Palestinians should be allowed to tell it.”
