Furkan Cetin: From Photography to Film
Samuel Kaur
Berlin-based filmmaker Furkan Cetin is part of a new generation of directors moving fluidly between commercial work and personal storytelling. With a background in photography and music videos, his path into cinema was anything but traditional. Yet it was on the set of his first short film that everything clicked. Since then, he has shifted his focus entirely toward filmmaking.
Recently, Furkan spent several weeks in Turkey, combining social media work with a road trip alongside close collaborators, a brief escape after months of intensive writing in Berlin. Now back in the editing phase, he is preparing his next step: a short film he hopes to shoot in New York. Balancing creative ambition with the realities of the industry, Furkan represents a filmmaker driven as much by instinct as by discipline.
IRK: Furkan, what is your earliest memory of cinema?
Furkan Cetin: My earliest memory isn’t really cinema, more like movies in general. I had one of those small portable DVD players which I carried everywhere when I was a kid. I remember having “The Lord of the Rings” on it, but I was actually too scared to watch it at first.
Then there’s my first real “cinema” memory – trying to sneak into a screening of “Fast & Furious”. I was about ten, even though it was rated for older audiences. I bought a ticket for a Disney film and then went into the wrong theater. It didn’t work the first time, but eventually I made it in.
IRK: Do you remember the exact moment you decided to pursue filmmaking as a career?
Furkan Cetin: Yeah, very clearly. I started out as a photographer and occasionally did music videos with a friend through our production company, but it wasn’t serious. Then in 2022, I made my first proper short film with my best friend. Being on set during that shoot was the moment I realized I wanted to do this for the rest of my life. After that, I shifted completely into film. I still do photography, but more as a hobby. Film just felt like the strongest way for me to tell stories.
IRK: What are your thoughts on improvisation? Do you prefer to plan everything carefully, or do you like to let the things flow on set?
Furkan Cetin: I love improvisation. My first short film was probably 80% improvised. We had something like a script, but it wasn’t even in proper format, just ideas written down. Because of that, the actors had a lot of freedom. Even major scenes, like a fight sequence, came together spontaneously. It worked, but editing was difficult because there wasn’t much structure. Now I try to find a balance. I plan more, but I still leave space for actors to explore. I don’t like it when dialogue feels read off a page. It’s better when actors bring something unexpected and create a kind of playground within the scene.
IRK: Do you have a personal filmmaking “bible” – a rule, principle, or reference you return to when the film starts getting messy.
Furkan Cetin: Personally, I turn to my faith – I’m Muslim – so when things get messy in life, I go back to that. For filmmaking, I always return to the work of Martin Scorsese. Whenever I feel lost creatively, I rewatch films like “Goodfellas” or “Taxi Driver”. They remind me why I started and help me reset my direction.
IRK: Do you think you have a signature shot, a colour or any visual element that appears in most of your work?
Furkan Cetin: I think so, even if it’s not something I planned consciously. There’s almost always a cigarette in my films.I like using it as a tool to express character, it says a lot about a person, sometimes more than dialogue. It’s a small visual detail, but for me it carries emotional weight.
IRK: What is the hardest and what is the easiest thing in filmmaking for you?
Furkan Cetin: The hardest part is balancing creativity with making money. When I focus fully on a film, I tend to stop taking jobs, and eventually I run out of money. Then I have to switch back, take on a lot of work, and put my own projects on hold. The easiest part is showing up. I genuinely love filmmaking, so even on days when I’m not motivated, I still want to work. It doesn’t feel like a job.
IRK: Furkan, if you could be a fly for a day, on whose wall would you love to spend that day and why?
Furkan Cetin: Definitely Martin Scorsese in his prime. Seeing how he worked during films like “Taxi Driver” or “Goodfellas” would be incredible.
IRK: If you could choose one actor, director, or other filmmaker, to have you by your side for your next project, who would you choose?
Furkan Cetin: I tend to gravitate toward older actors, and for me it would be Robert De Niro. Ever since I saw “Goodfellas”, I’ve wanted him in one of my films. Even a small role would mean a lot.
IRK: Are there any artistic mediums you would like to explore next?
Furkan Cetin: Right now, I’m fully focused on film. I used to do photography and thought about painting at some point, but film is where I can express myself most completely.
IRK: What is one movie that you Furkan Cetin, think everyone should see at least once?
Furkan Cetin: My favorite film is “Interstellar”, but if I had to choose one for everyone, I’d probably say “Chungking Express”. It’s one of those films where you go in without expectations and come out completely changed. The atmosphere, the pacing, the nightlife, everything about it stays with you.
Check out Furkan Cetin’s portfolio here.
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Samuel is a Paris-based creative marketing student and writer. When he got bad grades in school or behaved badly, his parents punished him by making him read - maybe that's where it began. What felt like torture at the time has now turned out to be a great gift.
Two years ago, he moved to Paris for his fashion studies. Since then the urge to write has only grown stronger. When he's not working on articles, he writes mostly film scripts or poetry. Beyond writing, he has a deep-rooted passion for cinema and enjoys engaging in all forms of filmmaking.
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