“Yellow Letters” was not actually part of my original line up of films that I had chosen to see at MIFF this year. However after finalising my schedule and realising it was a little light, I decided to do a final deep dive through the guide in an attempt to find a few extra films worthwhile to see. I came across “Yellow Letters” and was almost embarrassed that I had initially missed it, as it is the brand new film from director Ilker Çatak. His previous film, 2023's “The Teachers' Lounge” impressed me greatly and after watching the trailer for “Yellow Letters”, it became a no-brainer to be added to my list. I just had to hope that I could find a session that would fit nicely within my schedule, which ended up working out perfectly.
Ilker Çatak's “Yellow Letters” is an absolutely cracking drama about the realities of living under a totalitarian government where artists and intellectuals are systematically silenced by the State for criticising the current regime. It has been superbly written, filled with complex drama throughout, powerfully acted by the entire cast, and beautifully directed by Ilker Çatak. I can safely say, even this early in the festival, that “Yellow Letters” will be one of the highlights. The thing that I loved so much about the film was the way that it begins as a story of resistance and fighting against the State, censorship and being silenced, before it slowly morphs into a family drama looking at the reality of life after the State has systematically denied every luxury they are used to, as a consequence of their resistance. How do you live when you are left with nothing and blacklisted from your work that you are so passionate about? How do you survive? How long does it take to bend your ideals and how does that change if you also have a child to look after? This is such a smart (and angry) film that asks many, many questions that really get you thinking about the techniques totalitarian regimes use to crush resistance and how far people are willing to go to stay true to their ideals and beliefs.
The performances in “Yellow Letters” are out-of-this-world good, particularly from Tansu Biçer and Özgü Namal who play the artistic married couple, Aziz and Derya, persecuted by the State, but who are also parents to 14 year old Ezgi (beautifully and sassily played by Leyla Smyrna Cabas). I have never seen Özgü Namal in anything prior to “Yellow Letters” but she is an absolute powerhouse in this film. A very headstrong woman who is willing to fight for what she believes in, even if that fighting means going against her husband at times. Yes, she is married to Aziz, but Derya refuses to give up her individuality, and refuses to let anyone speak for her. Namal also gives Derya an incredibly tender and maternal side when she is in the company of her daughter. The hard exterior softens when Ezgi needs a friendly shoulder to cry on, or someone to laugh with or to share boy secrets with, although she never loses her parental power also. As good as Virginie Efira and Tao Okamoto were in Ryusuke Hamaguchi's “All of a Sudden”, I found Özgü Namal's performance in “Yellow Letters” to be even better; she is just incredible! She also has fantastic chemistry with Biçer, and the two of them together share many scenes together showcasing a huge gamut of emotions from tender and supportive to combative, as well as moments from a work perspective when they relate to each other in a playwright to actress capacity. There is an absolutely fantastic scene late in the film, set in the family car, when Aziz and Derya go head to head and have a highly combative fight as the frustrations of their current reality all comes bubbling to the surface.
As I mentioned earlier, “Yellow Letters” is a beautifully directed film shot in a very classical style focusing on perfect camera placement, simple camera moves and exquisite editing. There is nothing flashy in Ilker Çatak's directing style as he knows his story is the star of the show and his actors are strong enough to do the heavy lifting of the film, without the need of any visual fireworks which would take away from the drama. One trick Çatak did have to resort to was shooting the film in Germany rather than in Turkiye where the story is set. The reason for this is so that he could shoot the film with as much freedom as possible without the fear of suffering the same fate as that of his characters in “Yellow Letters”, which would likely have been the case if he shot it in Turkiye, due to the political nature of the film. Here, Berlin plays Ankara, with Hamburg filling in for Istanbul, and Çatak is not shy about the fact, crediting both cities as if they were actors in big bold letters during the opening titles for “Yellow Letters”, showcasing just how dangerous the situation can be, which his characters will soon be facing for themselves.
Sadly, “Yellow Letters” feels like a film perfect for our times, although until recently I must admit that I had been relatively naïve in the ways a totalitarian regime would censor artists and intellectuals, who have the knowledge and platform to react against them. However seeing this played out now on a daily basis, thanks to Donald Trump and his Republican government running the US, it has really opened my eyes to the reality of the situation and how dangerous it really is and how easily a person's human rights can be quashed by people in power. This is why I think “Yellow Letters” is an incredibly important film that hit me hard, and I was not surprised to learn that it took away the Golden Bear (top prize) at the recent Berlin Film Festival.
Going into “Yellow Letters” I was expecting much more of a thriller, with the family fighting and resisting until the end as the regime's grip on their lives got tighter and tighter. Therefore, I was quite surprised when instead it morphed into the family drama it becomes, but I say this with no disappointment attached. Instead of a thrilling portrayal of heroism and rebellion, we get a study of the true cost of standing up and fighting against the State. Sometimes there is no reward and your ideals become murky when you have to worry about more than just yourself, but the lives of your children and family too. This, of course, is exactly what the State wants, to break a person down until they are forced to conform, and through this family, director Ilker Çatak is able to look at both sides of the coin, in highlighting the cost of continued rebellion versus conformity, as well as the tensions involved within a family facing both. It is incredibly powerful and at times poignant, and one remarkable aspect of “Yellow Letters” is that even with the high stakes nature the family and film deals with, it never falls into melodrama.
“Yellow Letters” is an outstanding film that sadly reflects a chilling story of today's times. It is an incredibly powerful piece of work with an absolute standout performance from Özgü Namal; she's dynamite! It has been beautifully directed by Ilker Çatak, and I think it will end up being one of the stand out films of MIFF this year. Days after seeing “Yellow Letters”, I cannot stop thinking about it, and I am continually realising just how intricate and complex the story and emotions within it really are. Highly Recommended!
4 Stars.
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