HARVEST OF LIGHT

Short Talk with Esin Özalp Öztürk (director)

BEST MID-LENGHT FILM Category

22nd IN THE PALACE International Short Film Festival 2025

Turkey, Documentary, Turkish, 00:52:00, 2024

Synopsis: Turkish capital Ankara’s district Evren is home to a community of seasonal workers. The workers, who come to Evren with their families to harvest onions, are trying to cope with various difficulties while trying to hold on to life. The documentary "Harvest of Light" is centered around the generator, used as a metaphorical beacon of hope in the film, and operates for only 2 hours a day. In this short time, the workers tell their stories amidst the chaos of labor, perseverance, and the struggle to catch up with life. 

Biography: Documentary filmmaker with BA and MA from Bilkent University. After 15 years at TRT, Esin founded ArtEA Productions in 2023. She produced international co-productions with ABU and organized TRT Documentary Days. A founding member of the Balkan Network of Science Journalists and member of the Association of Documentary Filmmakers in Türkiye, her award-winning film Harvest of Light continues to screen at international festivals.

Esin Özalp Öztürk, director

Kaloyan Vasilev: In school, we often see two kinds of documentaries, those that are more scripted and planned, and those where you simply throw yourself into the field. When starting this project, did you have a clear plan, or was it more about diving in and seeing what happens?

Esin Özalp Öztürk: I focus on social issues, especially within Turkey. Women’s rights and human labor, especially child labor, are my top priorities. That’s why Harvest of Light is so close to my heart. The film has been shown almost everywhere in Europe, in Latin America, and even in the U.S. I’m very glad it’s been seen in so many places, and especially happy to be here in Bulgaria, a neighboring country.

Kaloyan Vasilev: Where did your interest in social films come from?

Esin Özalp Öztürk: I worked for TRT, the “BBC of Turkey”, for 15 years. About a year and a half ago, I left and started my own production company. Since then, I’ve focused on social issues because, as a woman filmmaker, I feel responsible for what’s happening both in my country and in the world. Women’s rights and child labor are always in my focus.

Kaloyan Vasilev: In the film, you interview many people. How did they respond to you? Were they welcoming?

Esin Özalp Öztürk: It was very challenging. I had a very limited budget, so I visited the area twice before filming to meet people, but I couldn’t spend much time there. The entire shoot was just six and a half days. In the first three days, almost no women spoke to me because of cultural norms. They were shy and embarrassed to be in front of the camera. That was stressful, because the women were essential to the story.

After I finished the film, I returned to Urfa, where most of them live, for a screening. They told me, “Abla” (which means “big sister” in Turkish), “If we had known it would be this beautiful, we wouldn’t have made you wait outside the tents.” Gaining their trust was a huge honor, and I think being a woman filmmaker helped them believe in the project and in me.

Kaloyan Vasilev: One woman you interviewed had her face covered. Was that because she had scars, or was she embarrassed to be seen?

Esin Özalp Öztürk: No, it’s because of the sun and wind. They work in the fields from early morning until dark, so they cover their faces to avoid sunburn.

Kaloyan Vasilev: Do you still keep in touch with them?

Esin Özalp Öztürk: Yes. I was there in May for a festival and they came to see me. One of the women, the main character you might remember, with the scarf, is now married and pregnant. Another woman, the one in the birthday party scene, recently had her third child, another boy. We’re still in contact, and whenever I visit, I see them.

Kaloyan Vasilev: Are they interested in your other projects?

Esin Özalp Öztürk: Yes, very much.

Kaloyan Vasilev: In your film, some shots use light almost as a main character, with beautiful bokeh effects. Who was behind those shots? Were you the one operating the camera?

Esin Özalp Öztürk: Yes, I was behind the camera. We were only three people: me, my DOP, and a camera assistant. We had very little equipment, no big lighting setups, just a small Godox light. We all helped with sound and lighting ourselves. We took some risks, but thankfully it turned out well.

Interviewer: Kaloyan Vasilev

Editor: Martin Kudlac