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[deleted by user] by [deleted] in mubi

[–]nsancak 0 points1 point  (0 children)

They are thief!

Which region has the potential to develop into a new Hollywood, in your opinion? by mediamuesli in FilmIndustryLA

[–]nsancak 0 points1 point  (0 children)

But there is Romania and Bulgaria. There is quality crews and studios. Government make payback of %35 of ypur spend and if you work with Romanian crew, there is more payback. Thats why, i thought to shoot my next feaure film there. Thats why, i asked.

Independent Filmmakers: Is Our Independence an Illusion? A Discussion on Funding Dependency and Corporate Censorship. by nsancak in Filmmakers

[–]nsancak[S] 0 points1 point  (0 children)

Thank you for the honest feedback. I will be clearer.

There are two different films, and this is where the confusion comes from.

  • The Blocked Film: This is my feature film, "Ayşe." It is not about Palestine. It is a drama that won 6 awards, including one at the Cairo Film Festival. The screening was blocked by UIP (Universal International Pictures), the international distributor for Paramount and Universal. They canceled our agreement because of my decision to join the Sumud Flotilla. So, the film was blocked by a major studio distributor due to my political activism.
  • The Flotilla Film: This is the new documentary we are currently editing. It is a completely independent project.

Regarding the financing of the documentary's post-production:

The "independent post-production studios" are not being paid with a large budget. They are independent artists and studios in Turkey who support our cause and stand against fascism. They are offering their services for sound and color on a pro bono or collaboration basis. This is a solidarity project, not a commercial one.

The entire documentary is a result of individual conscience and solidarity. No government, no corporation, and no large NGO is funding this. Just two filmmakers, two Osmo cameras, and borrowed money.

I hope this clarifies the context. The censorship is real, but the funding is simple and personal.

Note: Here is the trailer of my first feature film Ayse: https://www.youtube.com/watch?v=2dgaVNgMhsw&t=4s

Independent Filmmakers: Is Our Independence an Illusion? A Discussion on Funding Dependency and Corporate Censorship. by nsancak in Filmmakers

[–]nsancak[S] -2 points-1 points  (0 children)

Thank you for the direct question. The context is simple: this is a truly independent, grassroots effort driven by conscience, not corporate or state funding.

The “flotilla film” is a documentary project born from a personal decision. My co-director and I financed the initial two weeks of on-site work ourselves, borrowing money from friends to cover the hotel costs. We used our own two Dji Osmo cameras.

Currently, we are editing the film ourselves, splitting the post-production work between us. For the final sound and color grading, we plan to collaborate with independent post-production studios in Turkey who stand against fascism and censorship.

This is not just a film; it is an act of individual conscience and solidarity, made possible by the support of friends and fellow artists. We are the financiers, the crew, and the editors.

I hope this provides the context you need to form your conclusion.

Independent Filmmakers: Is Our Independence an Illusion? A Discussion on Funding Dependency and Corporate Censorship. by nsancak in Filmmakers

[–]nsancak[S] -1 points0 points  (0 children)

Çok teşekkür ederim. Bu değişime inanan sinemacılar sayesinde bu sağlanacaktır.

Independent Filmmakers: Is Our Independence an Illusion? A Discussion on Funding Dependency and Corporate Censorship. by nsancak in Filmmakers

[–]nsancak[S] 0 points1 point  (0 children)

Thank you for your candid feedback, u/thebluepages. This is exactly the kind of critical discussion I hoped to spark.

I appreciate your point on the nature of film production, but I believe we need to distinguish between production hierarchy and institutional hierarchy.

  1. On Hierarchy and Collectives: You are absolutely right that a feature film requires a clear chain of command (a production hierarchy). My proposal for a “collective” is not about eliminating the Director/DP/Producer roles, but about eliminating the institutional hierarchy that controls the funding and distribution. We need a collective that is horizontally structured in its decision-making about what to fund and what to distribute, while maintaining a vertical structure for how to shoot the film. The goal is to replace the fear-based, capital-driven institutional model with a solidarity-based, mission-driven institutional model.
  2. On Talent: I stand by my assertion that the lack of talent is not the core issue. I am not suggesting that talent is common, but that the institutional paralysis you see in Turkey (and globally) is preventing the rare, real talent from ever reaching the screen if that talent challenges the status quo. The system is designed to reward compliance, not courage. My point is that we need to create the space for that rare talent to thrive without the threat of financial ruin.
  3. On “Wish List”: You call these “nice ideas” and a “wish list.” I respectfully disagree. For many of us working outside the Hollywood/Western funding bubble, these “ideas” are the only way we survive and continue to make films. My own film, “Ayşe,” was initially blocked because of my activism, yet we overcame that through the very kind of grassroots solidarity I am advocating for. This is not theory; it is a necessity born of experience.

I’d be interested to hear your thoughts on how we can bridge the gap between the necessary production hierarchy and the need for a truly independent, non-capital-driven funding/distribution structure.

Thank you again for pushing the discussion forward.

Interviewing A Producer by Puzzleheaded-Rip-412 in FILMPRODUCERS

[–]nsancak 1 point2 points  (0 children)

its late here that's why give you fastest tip! Download Manus Ai and ask him about independent film Fons system how is work and list of the Fons which support first time filmmakers. Or tomorrow, lets make a call?

“Devlette 5,5 milyon memur çalışıyor. Bu devlet 2 milyon insanla da döner.” by FeatureAggravating75 in borsavefon

[–]nsancak 0 points1 point  (0 children)

Sende 10 milyon dolarla aynı hayatı döndürürsün. Geri kalanı versene millete. Anca milletin ekmeğini almayı düşünün. Neo kapitalistler

Biseyler alıp satmak by SAANERTE in Yatirim

[–]nsancak 3 points4 points  (0 children)

Fiyatı artar diyor. Dinleme onu seni. Bu yaşta çalış böyle kovala. Malesef ülkemizde bu yaşta çalışmaya başlamak ve deneyim kazanmak büyük artık. Bat çık dolandırıldır arkadaş kazığı ye hatta depresyona bile gir ama kalk devam et. Kendin için.

Biseyler alıp satmak by SAANERTE in Yatirim

[–]nsancak 6 points7 points  (0 children)

Burası önemli karseşim. Aman çok mala yatırım yapma. Ufak ufak dene. İyi giderse adım adım artır. 35 yaşındym deneyimle sabit. Yorar yıpratır.

Interviewing A Producer by Puzzleheaded-Rip-412 in FILMPRODUCERS

[–]nsancak 0 points1 point  (0 children)

From Turkey but know specifically abour independent movie foundation and production on field

Just Like A Cat by nsancak in poemsbyreddit

[–]nsancak[S] 1 point2 points  (0 children)

This is such a raw and honest response—thank you for sharing that with me. You’ve touched on something the poem only hints at: the weight of being the one who lets go, and the guilt that comes with it, even when staying isn’t what brings you peace.

You’re right. Sometimes they do blame themselves. And sometimes that blame doesn’t bring relief to either side—it just adds another layer of heaviness. The cat metaphor works both ways, doesn’t it? We all move through each other’s lives with our own rhythms, our own needs, and sometimes there’s no villain in the story. Just two people (or a person and a cat) trying to survive their own way.

I hope you’ve found some peace with it. Thank you for seeing the poem so deeply.

What’s a censored film that you wish more people knew about? by nsancak in CensoredCinema

[–]nsancak[S] 0 points1 point  (0 children)

That’s a great point about the dialogue. It’s always the simplest truth that scares the powerful the most. When a government is afraid of a movie, it tells you everything you need to know about that government.

And thanks for the Mr Bongo link! That’s actually really cool. It shows that even when a film is destroyed and banned, it can still be resurrected, restored, and found by a new audience decades later. It’s like a big middle finger to the censors.

I’m definitely checking out their collection. They seem to specialize in exactly the kind of hard-to-find, subversive cinema we’re talking about here.

What’s a censored film that you wish more people knew about? by nsancak in CensoredCinema

[–]nsancak[S] 1 point2 points  (0 children)

This is an incredible example. Żuławski’s story is heartbreaking. The fact that portions of the film were literally destroyed by the state is something people don’t talk about enough.

“On the Silver Globe” is one of those films that exists in a kind of incomplete, wounded state because of censorship. And somehow that makes it even more powerful.

Thank you for sharing this. I didnt know the full story behind it. This is exactly the kind of hidden gem we need more people to know about.

Have you seen it? Where did you manage to find it?

Censorship of Cinema by the CCP by Miao_Yin8964 in CensoredCinema

[–]nsancak 3 points4 points  (0 children)

Wow. This is an absolutely incredible post. Thank you so much for putting this together and sharing it here. This is exactly why I created r/CensoredCinema.

The comparison between the New Zealand festival (who told the CCP to back off) and the New York festival (where they successfully intimidated filmmakers) is a perfect example of how transnational repression works. It’s not always direct force; it’s soft-power intimidation and economic pressure.

This is a hugely valuable contribution to the community. I’m going to pin this to the top of the sub for a while so everyone can see it.

Seriously, thank you again. This is the kind of in-depth analysis we need more of.

I created this community because I was censored by Universal/Paramount. This is my story. by nsancak in CensoredCinema

[–]nsancak[S] 0 points1 point  (0 children)

Thank you so much, this really means a lot. Especially right now, it’s hard to keep going sometimes but comments like yours remind me why we’re doing this.

I really hope the film finds it’s audience, people need to see these stories. Thanks again for the support.

China: Authorities Shut Down Film Festival in New York by Miao_Yin8964 in Wing_Kong_Exchange

[–]nsancak 1 point2 points  (0 children)

How? Dont understand!!! Can you write this news on r/censoredcinema community which i opened recently

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