Yapım Tarihi - 2025
Süresi - 00:30:00
Format - Kurmaca, Renkli, Türkçe
Yönetmen / Director - Onur Akın
Senarist / Writer - Onur Akın
Yapımcı / Producer - Onur Akın
Assistant Director - Neslihan Çokseven
Cinematographer - Onur Akın
Camera Operator - Onur Akın
Gaffer - Onur Akın
Art Director - Hümeyra Çetin
Makeup Artist - Hümeyra Çetin
Sound - Mert Demir; Editor - Onur Akın
Colorist - Onur Akın
Original Soundtrack - Batuhan Gümüşay
Ana Karakter / Key Cast
Yiğit Tarlabölen
Batuhan Gümüşay
After placing a gun to his head and pulling the trigger, a young man is drawn
into a surreal and introspective space that appears to exist outside the
boundaries of time and life itself. What unfolds is not an afterlife, but a
dense psychological dimension sculpted entirely by his own subconscious, where
he is confronted by a mysterious voice that dismantles his past layer by layer.
Within this void, the protagonist undergoes a merciless interrogation that
weaves through childhood traumas, emotional failures, inherited burdens, and the
suffocating expectations of a society that never truly understood him. The voice,
calm yet unrelenting, invokes elements of mythology, science, philosophy, and
personal memory to expose the architecture of his suffering, creating an
atmosphere that is both claustrophobic and poetic. Through its silent lead,
monologic structure, and visually haunting style, the film explores the concept
of self as both victim and executioner, turning the act of suicide into a
cerebral confrontation with the very core of identity. Osiris is a meditation on
the fragile nature of consciousness, the inescapable complexity of guilt, and
the lingering question of whether liberation lies in escape or in understanding.
Osiris did not begin as a film but as a philosophical fracture as an inward
collapse that demanded an external form as a question without punctuation as the
shape of something I could not stop seeing in the mirror between moments of
silence and panic I did not write this work as an author writes a story I stood
inside it as one might stand in a dream that refuses to fade upon waking it came
to me in one single night uninvited fully formed like a verdict that had been
waiting to be spoken and I obeyed I was obsessed with the notion that at the
threshold of death there exists a hyperconscious flicker where the mind attempts
to compress the entire span of a life into a single gesture I imagined that
moment not as a blur but as a room not as a vision but as a dimension not as
memory but as interrogation the protagonist places a gun to his head and in that
infinitesimal second of decision where thought and consequence collapse into
each other he does not die he descends into himself or perhaps ascends beyond
himself into a metaphysical limbo constructed entirely by the psychic residue of
guilt regret denial and repressed memory here he is judged by a voice that seems
both ancient and intimate mythic yet personal foreign yet familiar not divine
not demonic but something in between not other but self this voice is Osiris not
the Egyptian god not the symbol but the function of judgment the essence of
conscience when stripped of narrative when made pure and merciless I chose to
give that voice to a performer who speaks in a language that is not his own
because the unnatural cadence the subtle fracture in fluency the dissonance
between intention and articulation served to intensify the uncanniness of
judgment spoken through a mask of language the protagonist never speaks not out
of fear but because he has reached the limit of language because at a certain
depth speech becomes meaningless and stillness becomes the only remaining form
of resistance I chose amateur actors because I was not seeking performance I was
seeking presence I was seeking unprocessed humanity I wanted to work with faces
that did not know the rhythm of the camera that carried the awkwardness of
reality I used artificial intelligence not as a tool of convenience but as a
collaborator of the uncanny to distort sound and image in ways that echoed the
fragmented architecture of memory I edited this film as if I were mapping the
inside of a mind in crisis not to construct a story but to reconstruct a
collapse Osiris is a philosophical experiment disguised as a film it is a
cinematic monologue without a speaker a trial without a verdict a confession
without words it owes its spiritual lineage to the bleak geometry of Bergman the
temporal breath of Tarkovsky the existential inquisition of Dostoyevsky the
quiet rebellion of Camus the violent poetry of Fight Club the melancholic
silence of Manchester by the Sea the guilt-ridden spiral of There Will Be Blood
and the unnameable weight of Kafka’s invisible court it is not a film that seeks
to be watched it is a film that watches back it does not end it reverberates it
does not resolve it haunts I read Nietzsche and Jung and Foucault and
Schopenhauer and watched the light fall in Caravaggio and the shadows twist in
German expressionism and I returned to the blank page with the understanding
that cinema is not a product but a psychic architecture and in this architecture
Osiris stands not as a monument but as a ruin not as an answer but as a wound
this is my first medium-length film but in truth it is the first time I have
ever spoken with absolute honesty even if I spoke through silence because in
silence I found the only voice that did not lie I did not make Osiris to be
understood I made it because I could not live without making it and I release it
not to explain myself but to see if anyone else recognizes the shape of their
own shadow inside its silence.