AFI Fest 2026: Yellow Letters
2026 AFI Fest
Winning the Golden Bear at the 2026 Berlin International Film Festival, İlker Çatak's Yellow Letters follows a family living in Türkiye whose lives get uprooted due to the crackdown by the government and its laws against spreading negativity toward the current political administration. In a time when equal rights protests are gaining in size and strength, Professor Aziz (Tansu Biçer) has come under fire for both the lessons he has taught and a series of social media posts that could be read as criticism of Türkiye's president. This has led to Aziz and his colleagues being put on trial, possibly facing years in prison. At the same time, Aziz's wife, Derya (Özgü Namal), has the play she is acting in shut down in fear of its themes being too controversial and provocative for the increasingly strict government. Out of money and options, the pair move with their daughter, Ezgi (Leyla Smyrna Cabas), to live with Aziz's mom, Güngör (İpek Bilgin), in Istanbul. Alongside trying to repair their lives and find stability, the couple begins to work on a new play that will showcase their struggles and reflect on their changing country. However, the stress of their situation takes a toll on the family, who begin to crack under the pressure.
Screening as part of the 2026 AFI Film Festival, Yellow Letters is a confounding film that pulls back far too often. The set-up is strong, with the film capturing a compelling look at just how quickly a government can destroy opposition and put those individuals in an impossible state of survival. While Aziz is encouraged to fight for his freedom and join his fellow colleagues in protest, he has to be wary of how his actions fall back on his family. Any concern about following passions or finding a deeper meaning in life has to be put on hold, as Aziz now has to figure out how he will simply survive. While this is far from being an overly original narrative in the larger scope of cinema, it feels appropriate for the modern moment as democracy and freedom of speech come under attack. There is room to be nuanced in how art responds to these events, but there is also room for art to be direct and to the point. The film does a good job of showing not just how this individual family is affected, but how the entire world changes in response to these new restrictions. Art and education come under attack, with critical thought and freedom of expression evaporating overnight.
However, this striking political voice quickly recedes as the family moves to Istanbul. Rather than continuing as a political drama, Yellow Letters shifts gears to become a family drama. Much of the film's conflict after this move is based solely on the interpersonal drama between family members. Ezgi is unhappy with the move and is pushing for more freedom as she grows older. While her parents are fair and understanding, Güngör is the opposite, and the two butt heads constantly. Aziz and Derya also have their own communication issues, specifically as things grow more complex with the play they begin to work on. There are multiple debates about the content of the play, with Derya pushing for a scene to include full nudity while Aziz and the others working on the production push back. Things get even messier when Derya is offered a role on a television show, with Aziz frustrated that she is pulling back from the only way he has to express his inner emotions regarding how his country is changing.
This is a strange twist for the movie to take. Outside of a single sequence when the couple travels back home for Aziz to appear at the court, the film becomes solely focused on this family conflict. Not only does this cause the film to lose touch with its political backbone, but it also feels confused in its writing and even works to downplay the impact of the film's first act. This is a family under attack, with even grand claims of promoting terrorism being thrown at Aziz. They have had all their connections cut, and are desperate, with Aziz barely making any money at his new job as a taxi driver. However, rather than hit the nail on the head with these circumstances, and what it says about government influence, the film not only pulls its focus down to the family but suggests that they do have freedom and ways to rebuild their lives. For these characters to feel free enough to make such a radical play, and for Derya to almost immediately be offered such a substantial acting role, feels inauthentic. It lessens the damage done by the government and weakens the impact of the film's voice. It isn't that Biçer and Namal are underdelivering — both express themselves well as they go back and forth, with Biçer especially bringing a wonderful layer of sadness as Aziz is pushed away from the work he cares so deeply about — but rather that the material is simply lacking.
However, at the very end, the film reveals one last direct shot. In the film's credits, it makes it clear that the project was shot in Germany, with the country filling in for Türkiye and portraying itself as the repressive country. Undoubtedly, this is a shot at Germany's current political shifts, with right-wing conservative ideals taking hold of the country. Ironically, this was a massive talking point at the 2026 Berlin International Film Festival, which came under immense scrutiny for distancing itself from politics. For many, Yellow Letters winning the Golden Bear was seen as an attempt to pacify this controversy, with many turning against the film for being too safe. This feels like an unfair judgment of Yellow Letters. While there are flaws in how poignant the film lands due to its choices in focus, the film clearly is trying to represent a very real problem in society, and this final note prompts the audience to reconsider just how distant this type of oppression truly is. This is arguably the film's most impactful statement, and it is a shame it is buried at the film's conclusion rather than being more substantially woven into the film's fabric.
Yellow Letters is a film with endless potential, but ultimately the film squanders its chance. When the film is focused on the devastating effects of the removal of personal freedoms, it lands effectively as a deeply relevant and emotive feature that evokes quite powerful reactions. However, the film pulls back far too hard, getting lost in dynamics that feel far less rewarding.
