Yapım Tarihi - 2025
Süre - 00:10:30
Format - Kurmaca, Renkli, Türkçe
Yönetmen / Director - Berin Ecem Muratoğlu
Senarist / Writer - Berin Ecem Muratoğlu
Yapımcı / Producer - Kerem Can Bayramoğlu
Ana Karakter / Key Cast
Furkan Gercik, Deniz Çınar, Sema Baksi
Annesi ve kız kardeşi ile İstanbul'da küçük bir apartman dairesinde yaşayan Erdal, işe gideceği bir sabah annesinin sürekli gıcırdayan tekerlekli sandalyesinin sesinden oldukça rahatsız olmuş şekilde
işe gider. Güvenlik görevlisi olan Erdal işte geçen günlerinde telefon üzerinden bir kadınla uygunsuz görüşmeler yapmaktadır. Bu görüşmeler Erdal'ın boğucu ev hayatından ve ailesi ile olan
geçimsizliğinden kaçmasını sağlarken aslında onu ve ailesini daha da büyük bir çıkmazın içine sokacaktır.
Erdal, who lives in a modest flat in Istanbul with his mother and sister, heads to work one morning feeling troubled by the constant squeak of his mother's wheelchair. Erdal, a security guard, spends
his days engaging in immoral talks with a woman over the phone at work. These conversations, while allowing Erdal to escape from his claustrophobic home life and dysfunctional family, will actually
put him and his family in an even bigger predicament.
The question Why? may be the first question that comes to mind as viewers watch the credits roll. I, too, find myself asking the same question every time I watch the film. Not because I don't have the
answer; as a director, I do have an answer; but, as a woman, I immediately fill with an influx of generationally repressed emotions as I try to empathize with Elif.
Then I ask, Why is it that women are confined to the role of a caregiver and why is it so shocking for any woman to reject that role? Also, why is it, as a society, we find it so repulsive and twisted
when she finally rejects it?.
Taking a broader perspective, the same can be said for Erdal as well. Although his portrayal embodies the traditional male figure in Turkish society, he is also a product of generational trauma. He is
caught between societal expectations from him as the head of the household and his desire for freedom just like Elif is and perhaps once Şerife had been.
The constant squeaking of Şerife's chair serves as a poignant symbol of the complex dynamics within a family that has inherited a legacy of emotional detachment. Each member is resigned to their
prescribed roles, lacking deep personal connections and harboring modest expectations from life. Yet what society forgets is that everybody has a fantasy. Whether it's about buying a house or being
with the person of your dreams, everybody is allowed to fantasize.
In Gıcırtı, however, we observe that those fantasies can twist and turn into a modern-day nightmare. As Erdal tries to run away from his mother's squeaky chair and all that it represents, he falls
into the revenge of his sister, whom he has never respected as a person or as a woman. I specifically wanted to portray the relationship between Erdal and Elif as ambiguous. I aimed for Elif to
symbolize every role a woman can have within a family like theirs, yet still not be valued in the eyes of the patriarch.
This brings me to ponder the question of Why. Why does Elif do all this? Is she motivated solely by a desire for revenge against her brother, seeking to deprive him of his means of escape? Or is she
motivated by a profound ambition to liberate herself from the constraints that have held her back, and transform into what society deems a real woman, even if it means embracing a persona
characterized by twisted and lustful mischief?
45. İFSAK Kısa Film Festivali, Kısa Film ve Belgesel Yarışması, Kurmaca Dalı,
Finalist. 2025
4. TAYF Uluslararası Kısa Film Festivali, Ulusal Öğrenci Kısa Film Yarışması, Finalist. 2025
6. Fotofilm Kısa Film Festivali, Yarışma Filmi. 2025