Interview: Nehir Tuna – Dormitory (Yurt)

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For his feature debut, Turkish filmmaker Nehir Tuna climbs back into his personal space to explore friendship, isolation and the  diverging philosophical and religious beliefs of the mid-90s Turkey with the autobiographical Dormitory (aka Yurt). Exploring the rather colorless existence Ahmet, a young teen who is slightly naive but nonetheless rebellious in his pursuit for perspective in a world filled with dichotomy and contradictions. In this portrait, Tuna gazes inquisitively at the way division tends to perpetuate further divisions, while making a concerted effort to extinguish individual spirit.

After a decade plus filmography of working in the short film form, Nehir Tuna had the opportunity to workshop the screenplay for Dormitory at the 2019 Sundance Screenwriters Lab and re-teamed with players on his previous works for a feature that was selected for the 2023 Venice Film Festival’s Orizzonti section. I had the opportunity to sit down with the filmmaker during the festival, where we discussed working in different colors and the aspect ratio, the dynamics of the different type of relationships we find here and the multi-dimensionality of the splintered character set.

Eric Lavallée
Eric Lavalléehttps://www.ericlavallee.com
Eric Lavallée is the founder, CEO, editor-in-chief, film journalist, and critic at IONCINEMA.com, established in 2000. A regular at Sundance, Cannes, and Venice, Eric holds a BFA in film studies from the Mel Hoppenheim School of Cinema. In 2013, he served on the narrative competition jury at the SXSW Film Festival. He was an associate producer on Mark Jackson’s "This Teacher" (2018 LA Film Festival, 2018 BFI London). In 2022, he was a New Flesh Juror for Best First Feature at the Fantasia International Film Festival. His top films for 2023 include The Zone of Interest (Glazer), Inside the Yellow Cocoon Shell (Pham Thien An), Totem (Lila Avilés), La Chimera (Alice Rohrwacher), All Dirt Roads Taste of Salt (Raven Jackson). He is a Golden Globes Voter.

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