Yellow Letters Director İlker Çatak on Political Repression of Artists

İlker Çatak, who was born in Berlin to Turkish mother and father, is again at the Berlinale with “Yellow Letters,” which in contrast to his last movie — the Oscar-nominated Germany-set “The Teachers’ Lounge” — takes place fully amid political repression in Turkey, even though it was shot in Germany.

The well timed political drama stars Turkish actors Özgü Namal (Derya) and Tansu Biçer (Aziz) as an artists’ couple whose marriage implodes after they lose their jobs as a consequence of their political beliefs.

Çatak speaks to Variety about how political repression in the arts will not be just a Turkish downside these days.

What drew you to this story wherein authoritarian political stress disrupts a wedding?

I’ve always needed to make a movie about marriage. I’m residing in a wedding with a painter — who occurs also to be my co author on this movie — and we have been always fascinated by movies such as “Marriage Story” [by Noah Baumbach] the place you may have this type of rigidity between lovers that is, on the one hand, very tender and really loving. And on the other hand, completely harsh. Then there have been the political features to this movie. In 2019 I used to be in Istanbul the place I had heard about the mass [political] layoffs occurring previous to to then. But that day, I used to be sitting with with a few actor associates in a restaurant, and one of the actors says: “I got this letter, and they laid me off because I smoked a cigarette backstage.” And I said: “What?” And he said: “Yes, that’s what the letter said.” I talked about this with my spouse, and we began studying about these layoffs and what they did to households. Almost everybody is dropped at a point the place you’re confronted with promoting off your beliefs. And we thought: this is an ideal backdrop to inform a wedding story.

It’s attention-grabbing that Derya, the actress, sells out by working on a Turkish cleaning soap opera. Was that a remark on Turkish TV networks?

It’s not just a Turkish issue. You have it in the U.S. too. Look at what occurred to Jimmy Kimmel! Look at what occurred to the variety announcement that Amazon put out a pair years in the past, and then Trump got here again, and all of a sudden: poof! As if it never occurred. I’d be hesitant to get into enterprise with these sorts of networks that are good associates with administrations. Because I’d be half of their agenda, proper? As an artist, I don’t suppose it issues when you’re in the U.S. or in Turkey, or wherever. You must ask your self: “Who am I going to bed with here?” “Who is this person or his institution? And who are they tied to?” So that is one thing I believe we as artists must ask ourselves. And this query is getting louder and louder.

It nearly appears as though you take Aziz’s aspect. On the one hand you may have Aziz, the earnest artist with a big ego. On the other Derya, who’s more pragmatic. Is that the way you see it?

To be trustworthy, I don’t take sides. I believe I hoped that Derya’s battle and her choice would develop into clear. That’s my job, first and foremost. Not to guage, however to make issues understandable. Of course, I’d like to be on Aziz’s aspect. But I also see that it’s a really restricted point of view that is a bit, outdated. Maybe name it dreamy. It’s not the way you present for a household. And, first and foremost, it’s a must to present for a household. The big factor about this movie is that I don’t need to decide anybody who works for, , Fox Networks, or no matter. I’m positive they’ve their causes. But I need to query this behaviour because you might want to have a backbone. You have to know the place you stand. I believe that’s important as an artist.

This interview has been edited and condensed for readability.