The 14-minute short experimental film “Open Letter” produced by the “Chinar Film” company, is planned to be released on the big screens in 2026. It was written by Ismayil Iman and Turkan Huseyn. Turkan is not only the director, cinematographer, and producer of the film, as well as the secretary of the Azerbaijan Union of Filmmakers. The lead role is played by Orkhan Isgandarli, and the sound designer is Hafiz Ibrahimli.
The film “Open Letter” is built around voice recordings exchanged between two lovers against the backdrop of their everyday lives. Previously filmed footage of Baku by the director has been incorporated into the film as archival material. The film is currently in the editing phase.
We present an interview with director and producer Turkan Huseyn to Kinoinfo.az.
— You work both as a screenwriter and director. Which of these roles is easier or more difficult for you?
— Writing is the most challenging phase for me. Gathering ideas, turning them into written material, and then imagining how the actor will deliver the lines is physically demanding, especially since I experience attention deficit disorder. The phases I enjoy most are shooting and editing.
— Have you ever considered making a mini-series? Do you have any plans in this direction?
— Yes, I don’t want to make a long series, but I am thinking about a mini-series consisting of 5 to 10 episodes. I am still considering this idea.
— What is the process of applying to film festival competitions like? Do you encounter any challenges?
— I had previously applied as a producer for the films of Alemdar Faig and Haji Safarov. So, I have some experience in this area, and I’ve gradually become more familiar with the process. However, collecting the required documents and managing everything alongside festival schedules can be quite challenging. If there were fixed dates throughout the year, it would be easier to prepare in a more structured way.
— What stage of screenwriting is the most difficult for you?
— Coming up with ideas is easy. But writing the middle part of the story—the section that connects the beginning and the end—has always been the hardest for me.
— What emotions inspire you?
— Death and love—I believe these are the two fundamental themes of art.
— Do you sense any change in Azerbaijani audiences’ attitude toward local films?
— Yes, they want to watch them, but they lack information. Old films are shown on TV channels, and in cinemas, ticket prices are high. Azerbaijani films are sold at the same price as Hollywood productions. When choosing, people tend to prefer foreign films because they give more confidence they’ll be entertained.
— What is the main challenge that the new generation of directors face in modern Azerbaijani cinema?
— The main issue is funding. When it comes to debut films, support is given almost exclusively to students from art university. On the other hand, practical knowledge in education is quite limited — for instance, skills like preparing for a pitch or filling out application forms are not taught.
— What distinguishes Azerbaijani cinema from the cinema of neighboring countries?
— When you think of Georgian cinema, a specific style or signature comes to mind. But Azerbaijani cinema is still not well-known. One person in Copenhagen once told me, “This is the first time I’ve met a director from Azerbaijan.” That proves we haven’t yet introduced our cinematic identity to the world.
— What should we do to promote this cinematic identity?
— We need to make more films. We are a big country in terms of population, but the number of films produced is very low. The funding allocated to cinema is also limited. Cinema is not only a source of income — it is also a country’s business card. Iranian cinema, for example, introduces the Iranian people to the world through directors like Jafar Panahi and Kiarostami. Our approach should be similar.
— Does a small budget give a director more freedom, or does it restrict them?
— In my opinion, it doesn’t offer freedom, because you have to measure everything within limitations. People say, “Documentary films are cheap anyway,” but a documentary can take years to complete. I’ve made low-budget films, but they didn’t give me creative freedom — they simply gave experience.
— In what genres would you like to work in in the future?
— I would like to work on films set in the future or historical pieces. Not war films, but something that explores a turning point in the 15th or 16th century would be interesting. I’d like to write in every genre — except comedy.
— Will the film Open Letter be broadcast on television?
— If there’s an offer from the channels, of course I’d like that. So far, only Culture TV has broadcast my film I’m Still Talking to You.
— In your opinion, who should be responsible for promoting Azerbaijani films to audiences?
— Ideally, TV professionals should watch films at festivals and show interest. I don’t know which genre appeals to which TV channel. If they took the initiative, the films would be screened more often.
KİNOİNFO.AZ