Yellow Letters Sparks Buying Frenzy Ahead of Berlinale Debut

Brussels sales agent Be for Films announced a series of international deals for Yellow Letters, the new drama from German-Turkish director İlker Çatak, just before its world premiere in the main competition at the 76th Berlin International Film Festival on February 13, 2026. The film, Çatak's follow-up to his 2023 prize-winning The Teachers’ Lounge, which earned an Oscar nomination, centers on a Turkish theater couple whose lives fall apart after state intervention at their play's opening night. These early sales signal strong buyer interest in a story about art, politics, and family strain.

Background

İlker Çatak, who grew up between Berlin and Istanbul, made his mark with The Teachers’ Lounge three years ago. That film played in competition at the Berlin festival, took home a Silver Bear, and later got a nod for best international feature at the Oscars. It looked at tensions in a school over theft and bias. Yellow Letters picks up similar ground but shifts to Turkey, where two artists face fallout from their work.

The project started taking shape in 2021. It got a 10,000 euro grant from the German-Turkish Co-Production Development Fund that year. In 2022, it showed up at the Berlinale Co-Production Market and picked up 65,000 euros from MOIN Filmförderung. By late 2023, Eurimages chipped in 368,000 euros for production. These funds helped pull together a team from Germany, France, and Turkey.

Filming wrapped up in July 2024 after shoots in Hamburg and Berlin, which stood in for Ankara and Istanbul. Crews also used the Berliner Ensemble's main auditorium, bringing in hundreds of extras for crowd scenes. Be for Films took on international sales rights in February 2024, setting the stage for the deals announced now.

Çatak co-wrote the script with Ayda Çatak and Enis Köstepen. The story draws from real pressures on artists in Turkey, where plays and performances sometimes draw government scrutiny. Early reviews call it a tense look at how politics invades daily life.

Key Details

Yellow Letters follows Derya and Aziz, a married couple of theater artists in Ankara. They have a 13-year-old daughter named Ezgi and enjoy a steady life until trouble hits at the premiere of their latest play. State officials step in, calling the work too radical. Soon after, they lose their jobs, their home, and must leave the city.

As they try to start over, their marriage starts to crack. Derya, played by Özgü Namal, and Aziz, played by Tansu Biçer, wrestle with holding onto their beliefs or giving in for safety. Their daughter Ezgi, played by Leyla Smyrna Cabas, watches the family change. Other cast members include İpek Bilgin as Güngör Hanim, Aydin Isik as Salih, and more in supporting roles like Aziz Çapkurt, Yusuf Akgün, and Jale Arıkan.

Plot and Style

The film runs 128 minutes and builds tension through close looks at the couple's choices. It shows how suppression wears down people who want to speak out. Scenes mix quiet family moments with bigger clashes over art and power. Namal and Biçer bring raw feeling to roles that shift from anger to doubt. Çatak's style keeps things tight, much like his last film, focusing on personal costs over big action.

The premiere comes during the Berlinale's February 13-22 run. It is up for the Golden Bear, the top prize. Germany gets a theatrical release on March 5, 2026, through Alamode Film. No other release dates are set yet.

“Getting through the day can’t be a dream. It shouldn’t be.” – Line from Yellow Letters

Buyers from across Europe snapped up rights in the first sales round. Details on exact territories stay under wraps for now, but the quick moves show faith in the film's pull. Festival screenings start soon, giving more people a first look.

What This Means

These sales point to Yellow Letters finding a wide audience beyond the festival. European distributors see value in stories about artists under pressure, especially with Çatak's track record. The Teachers’ Lounge reached viewers in many countries and sparked talk on school issues; this one could do the same for theater and politics.

For Çatak, the deals mark a step up. His first big film put him on the map; now, with co-production backing and strong leads, he has more reach. The Berlin slot boosts chances for awards and buzz. If it wins or places high, that could speed up sales in other regions.

The film taps into ongoing debates about free speech for artists. In Turkey, cases of performers losing work over content make headlines now and then. Yellow Letters frames one such story through a family, making the stakes feel close. Viewers outside Turkey might connect it to their own places where expression faces limits.

Industry watchers expect more deals after the premiere. Festival feedback often sways buyers. Early word praises the acting and direction, even if some note the pace dips later or context feels light for non-Turkish audiences. Still, the core message about art's role in tough times lands hard.

Turkey's film scene gets a nod here too. Co-productions like this link local talent with European funds and eyes. Stars like Namal and Biçer, known from Turkish TV and film, gain international notice. For the Berlinale, picking Yellow Letters keeps its run of bold competition entries going.

As screenings unfold over the next week, reactions from critics and crowds will shape the film's path. Sales so far set a solid base, but festival heat could push it further. The story of Derya and Aziz stays timely, reminding people how personal fights against silence play out.