Belkis Bayrak made her feature debut with “Gülizar” at Toronto International Film Festival this year. The slow domestic drama is laden with suspense for the titular Gülizar, a Turkish woman (Ecem Uzun) due to be wed in Albania. She is sexually assaulted, however, when she crosses the border to meet her to-be-husband, Emre (Bekir Behrem). The incident taints any attempt at intimacy between them. Gülizar struggles to play the role of a model housewife, while Emre burns with revenge. Gülizar’s secret brings the two of them closer together, but isolates them in the bedroom all the same. The tension only escalates as their wedding date grows closer and closer – until one day, Gülizar decides to take matters into her own hands.
We had the opportunity to speak to director Belkis Bayrak and Emre-playing actor Bekir Behrem at Toronto International Film Festival, shortly after their world premiere. Together, we spoke about building intimacy and what it takes to shoot a multinational first feature.
This interview has been edited and redacted for clarity.
Gulizar screened at Toronto International Film Festival
Congratulations on your premiere! How was your reception at TIFF?
Belkis Bayrak: I felt very connected to the audience, especially after the Q&A. I anticipated two kinds of reactions: those trying to understand the film, and those in the process of digesting it. I met some audience members and I could see that they were still immersed in the film’s emotions, some even in tears. I thought to myself, “Yes, we are still very much connected.”
Bekir Behrem: It was an intense experience for me, because I saw “Gülizar” for the first time. I couldn’t even ask about the movie [before the premiere]. I loved what I saw. I’m still digesting it. This movie feels like the peak of my career and personal journey. For that, thanks, Belkis.
What “Gülizar” does so well is balancing this sense of intimacy, but also not crossing boundaries. This happens when Emre and Gülizar are sitting next to each other on the bed. Emre wants to make a move, but is not sure how. How did you two navigate this push-and-pull?
Bekir Behrem: There’s an elephant in the room. We discussed this scene with Belkis beforehand to ensure we all saw it from the same perspective.
Belkis Bayrak: I was inspired by Asian cinema, so we had some reference films for the actors to study. Bekir watched all of them. We discussed how to reveal his character, because these are really important moments of acting. It’s difficult because there is no dialog, so it’s challenging to convey the intensity. Sometimes I would ask [Bekir and Ecem], “Do you want to talk?” They said no, they were really into it. (laughs)
In pre-production, I worked with Ecem and Bekir so that we had no conflict in mindset during shooting. We all concentrated on what we were going through. It wasn’t just about the rehearsals or camera setups; the performances began long before that.
Bekir Behrem: Some scenes, I didn’t want to talk, even if there was a scripted line. That feeling, that emotion – I don’t need a line to express it. I’m already living it.
How did you develop the chemistry between Emre and Gülizar?
Belkis Bayrak: Before the shoot, we [Bekir, Ecem, and I] had the chance to meet and rehearse the critical scenes. It’s not about acting. It’s about mindset and perspective. During the audition, I asked them, “Why would this character act in this way?” I was very happy that they understood what I intended, because it’s not very easy to express these nuances.
There were some times during shooting when they wanted to give up, especially the emotionally heavy scenes. Bekir said yesterday [after the premiere], “After two years, I can finally breathe again.” (laughs)
It’s certainly not an easy role. Bekir, what drew you to the film?
Bekir Behrem: It’s not a typical role for a male character. Emre is layered — he wants to support Gülizar but becomes entangled in a form of masculinity that he struggles with. In the end, he momentarily finds redemption. I don’t judge his actions; it’s a visceral experience. You don’t forgive yourself for what you’ve done, yet you can’t escape it. It’s an emotional, not a rational, response.
Belkis, you mentioned earlier that you’re also really inspired by Asian cinema. When I saw this, I was immediately reminded of Asghar Farhadi’s “A Salesman” (2016) – there’s a similar narrative framing of a sexual assault in the beginning, and the male character must grapple with his honor and what may serve his partner best.
Belkis Bayrak: It’s a balance between time, space, and pressure. I was actually inspired by Ryusuke Hamaguchi’s “Drive My Car” (2021). I lived in Beijing, China for one and a half years, and I find that my filmmaking is very close to a lot of [East] Asian cinema in the way I think about colors, their symbolism, and their relation to acting.
Bekir, what about you? What were some inspirations you brought to your character?
Bekir Behrem: Belkis helped me through the process. When I wasn’t sure about what Emre should think and do, I referred to Belkis.
Belkis Bayrak: We watched a lot of films. I would suggest them to Ecem and Belkis, and then we would discuss the films and their acting. It wasn’t about imitating the plots but about understanding how to build the environment Emre and Gülizar inhabit. To understand Gülizar, we needed everything to be slowed down.
Bekir Behrem: When things are slowed-down, everything gets more intense.
Any examples?
Belkis Bayrak: My thesis focused on chronotopes, or how films manipulate space and time.
Bekir Behrem: Especially “Beanpole” (Kantemir Balagov, 2021) for me. You’ll see the chemistry. (laughs)
Belkis Bayrak: You can feel the tension in the interior scenes. There are no landscapes. In “Gülizar,” you can’t really tell if it’s set in Kosovo, because I focus on intimate spaces. These are my inspirations.
Your focus on interior scenes a very different approach from other Turkish auteurs, like Nuri Bilge Ceylan – who often shows us sweeping landscapes of the countrysides he films in.
Belkis Bayrak: A few years ago, I had the chance to attend the masterclass of Aida Begić, a Bosnian filmmaker. She said, “As a female filmmaker, I don’t like to create big worlds, big frames and mountains, because I think there is a way of telling the story in rooms and kitchens.” I am like that. But I don’t like to stick to one location. In Turkey, the film is usually about the village or the city, but I wanted to go further, between two countries – without showing each one. It’s about how we transfer travel with emotions.
How was shooting in both Turkey and Kosovo?
Belkis Bayrak: It was tough for a first film. It was a bold move. I received many warnings at first. “Just go to a village, make a comfortable first film,” people would tell me. But I thought that location matters, so I insisted.
Bekir, did you know Albanian going into your role?
Bekir Behrem: I spoke some Albanian [for “Gülizar”], but I just memorized the lines. (laughs) Ernest Malazogu [who plays Bajram] helped me a lot on set.
Belkis Bayrak: It was very stressful to keep continuity between the two countries. The film mostly takes place in Kosovo, but we only shot there for one week. The rest of the film was done in Turkey, so we had to make it all look like Kosovo. In the bus scene, for example, one bus is in Kosovo, and the other is in Turkey. We had to find completely similar types. Even the car was very old – people told me that it was too old to take to two countries. There were many troubles, but this is what I am obsessed with. It was fine because the team was very well prepared and I am thankful to all of them.
What about your favorite memory on-set?
Belkis Bayrak: The most stressful day was our last shoot. I always imagined this final scene [that we filmed] to be a rainy day, but the forecast said there was very little possibility of rain. However, it still rained cats and dogs. I was very happy.
Bekir Behrem: For me, it was a very challenging role. I tend to overthink things, and sometimes I wondered whether I was doing Emre justice. But now, after everything, I just feel relieved. (laughs)
How long was your total production timeline?
Belkis Bayrak: It was an intense four weeks.
How do you think “Gülizar” will be received in Turkey?
Belkis Bayrak: I am curious about it. I am excited. I just spoke to aTurkish critic who had wonderful things to say. There are films with similar stories, but the perspective I have chosen is unique, and I think that will be appreciated. We’ll see how it goes when we premiere at Anatolia IFF in October.
Finally: even though we just witnessed your world premiere, do you all have plans about what will you do next?
Belkis Bayrak: I have a second feature that I have been developing for two years. The synopsis and treatment are already in place, and it will introduce a new male character, a soldier, dealing with themes of brotherhood, love, and death. I am planning to write the script at the end of the year; I already started talking about this with my cinematographer, Kürşat Üresin.
While “Gülizar” took five years, I hope this next one will take less time. (laughs)
Bekir Behrem: After TIFF, I’m heading to work on a short independent film.
Bekir, can you play a soldier?
Bekir Behrem: No. (laughs)
Belkis Bayrak: It won’t be a typical soldier. I want to play with our perception of soldiers and introduce something new, like with Emre for “Gülizar.” We’ll see how it turns out!
“Gülizar” will have its European premiere in San Sebastian International Film Festival on 20 September, 2024.
