Tunç Sahin

Tunç Şahin. You know, the guy who kind of slips under the radar but once you see his name, you’re like, “Ah, THAT dude.” Born in Elazığ back in ‘78, which, let’s be real, isn’t exactly the first city you think of for Turkish cinema. But hey, talent pops up everywhere. Şahin’s got this knack for digging into weird little corners of humanity—like, with “İnsanlar İkiye Ayrılır” (2020), he just goes for the jugular with people’s moral messiness. Not afraid to get dark, not afraid to get weirdly funny, either. Then there’s “7Yüz” (2017). Anthology series, right? Each episode feels like peeling back another layer of modern Turkish life, showing all the mess and beauty and awkwardness. It’s not just drama for drama’s sake. There’s this dry, biting humor that sneaks up on you and suddenly you’re laughing at something you probably shouldn’t. He doesn’t spoon-feed you, either. You’ve gotta pay attention or you’ll miss the best bits. And don’t forget “Karişik Kaset” (2014). Totally different vibes—nostalgia, music, romance, the works. Şahin jumps from gritty to sweet without losing his edge. Honestly, his stuff is never boring, and even the side characters get their moment. He’s one of those directors who actually seems curious about people, not just ticking boxes. Turkish cinema’s got plenty of big names, but Şahin’s quietly doing his own thing, and it’s pretty damn interesting to watch.