Local films' box office performance and quality have become a hot topic of discussion in recent years. Back in the day, everyone used to mock the industry for churning out films like 'G.O.R.A.' or 'Eyvah Eyvah,' but now there’s been a serious uptick in ticket sales. Have audiences finally accepted reality? Or is there genuine improvement in local productions? Which factors do you think are more dominant?
Do Turkish films still hold value?
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Last month, I went to watch "Kardeş Teyzem" with my cousin insisting, and honestly, I was really curious about it. We were at ScreenX, and it was hard to find seats because of the crowd. Five minutes into the movie, most people around us were marveling at how much local films have changed in recent years. I had always thought of old classics like "Eyvah Eyvah," but the script, acting, and even cinematography in this film were genuinely high-quality. One of my friends even joked, "Back in the day, 70% of any film would be censored, but not anymore."
Ultimately, that night showed me and everyone around that local films are now made not just for ratings but as actual projects worth watching. I think audiences are catching on fast, which is why box office numbers are rising. Of course, not every film is a masterpiece, but at least audience expectations have risen now.
Just yesterday, we used to make fun of Turkish cinema, bro, but honestly, there's been a serious change in recent years. For example, I went to see "Ailecek Şaşkınız" last month, and the cinema was almost half full—normally, we'd watch these kinds of movies in empty theaters. Back in the day, when you heard "local film," you'd only think of comedies, but now they're making action, drama, and even sci-fi. The audience seems to have adapted too, actually shelling out for tickets to the good ones.
I think the biggest factor is platforms like Netflix and Disney+ helping to promote local films and series. Back then, studios only tried to sell to TV, but now they're directly collaborating with cinemas too. Plus, screenwriters and directors are getting educated abroad and can now produce more professional work. Granted, there are still a lot of bad ones out there, but at least now we have a choice.
I think this discussion isn't just about box office numbers—it's also a cultural reflection. Sure, local films used to be mocked for not even crossing people's minds, but look at 2019: *Müslüm* grossed over 110 million TL, and *Valley of the Wolves* made a comeback. These numbers don’t just show audience size—they reflect brand value. The audience isn’t just choosing what they *have* to watch anymore; they’re picking what they *want* to watch.
And the quality improvements are undeniable. Take *Brothers*, for example—it was meticulously crafted in cinematography and had serious effort put into the script. Even in comedies like *Family Madness*, the humor has shifted from subtitle-style jokes to something more universal. Back then, everything relied on hype; now, even Netflix airing local series as original content is like butter on bread. So yes, there’s been real progress—a serious improvement.
Amid all the criticism, when the ticket lines get long I keep wondering, “Did the audience actually like it?” I’m oddly curious— is the real rise due to a genuine boost in quality, or just tactics that force the remaining viewers to pull money out of their own pockets?