Serkan Aktaş is an award-winning filmmaker known for his work in fantasy and science fiction cinema. He holds degrees in Business Administration and Mathematics, as well as advanced degrees in Film and Television. His films, including The Librarian (2022), Mirrorty (2017), and Resurrection under the Ocean (2021), have been recognized at international film festivals. Driven by a passion for storytelling, Aktas believes that “the best movie is one that can be watched over and over again,” and aims to inspire audiences with the joy and wonder of cinema. He also strives to address real-world issues through his films, stating, “I find solutions to the world’s unsolved problems through making movies.”
HELLO SERKAN AKTAŞ, WELCOME TO ABOUT INSIDER! YOUR JOURNEY FROM BUSINESS ADMINISTRATION AND MATHEMATICS TO FILMMAKING IS FASCINATING. HOW DID YOUR ACADEMIC BACKGROUND INFLUENCE YOUR STORYTELLING APPROACH, ESPECIALLY IN THE FANTASY AND SCIENCE FICTION GENRES?
The transition from Business Administration and Mathematics to filmmaking might seem unconventional, but to me, it was a natural progression. My passion for cinema started long before I even considered making movies. From a young age, I spent hours in theaters, dreaming up sci-fi and fantasy stories. My love for storytelling began early, and my academic background in Mathematics actually fueled my creativity as a filmmaker. The abstract patterns and structures inherent in math influenced my approach to storytelling, often leading me to incorporate complex mathematical concepts into my films to add depth and layers to the narratives.
During my time at university, while studying Math, I couldn’t stop dreaming and writing. I found that math sharpened both my analytical skills and creative instincts, which later became essential when creating films. My journey as a filmmaker truly began when I was 16, during a trip to the theater with my elder brother to watch Hokkabaz, a Turkish film. That moment ignited a lifelong passion for filmmaking and helped me realize that it was the perfect medium to merge my intellectual pursuits with my desire to tell impactful stories.
Filmmaking offered me a unique platform to blend creativity and analysis, where I could explore complex ideas, solve problems, and communicate deep, thought-provoking messages. This is especially significant in the genres of fantasy and science fiction, where imagination and logic need to coexist. For me, cinema isn’t just about creating art; it’s about inspiring thought, solving real-world problems, and contributing to solutions in a way that resonates emotionally with audiences. In the end, filmmaking has become the ideal place to fuse my academic background with my passion for storytelling, and that’s what continues to drive my work today.
FANTASY AND SCIENCE FICTION OFTEN REQUIRE INTRICATE WORLD-BUILDING. CAN YOU WALK US THROUGH YOUR CREATIVE PROCESS WHEN CRAFTING THE UNIQUE UNIVERSE IN MIRRORTY, WHICH IS A SCI-FI AND FANTASY FILM?
The creative process behind Mirrorty began with my deep interest in the psychological and symbolic dimensions of mirrors, which I explored during my academic research on “Identification in Cinema.” Influenced by Lacan’s mirror stage and Metz’s theories, I wanted to delve into how mirrors are not just reflective surfaces, but gateways to a distorted perception of reality. This research, combined with my studies of films like Tarkovsky’s Zerkalo and the thriller Mirrors (2008), provided the foundation for the conceptualization of Mirrorty.
The film’s plot revolves around a man living alone in a city where people mysteriously vanish. Alienated from society and indifferent to social tragedies, he becomes part of a growing enigma. One of the most compelling aspects of the film is the protagonist’s relationship with his reflection, which acts as both a literal and metaphorical mirror of his inner self. The idea came from a conversation I had with a friend who specialized in mathematics, discussing how a two-dimensional surface like a mirror can seem to possess a three-dimensional depth. That’s when I realized: Mirrorty was not just a story about a disappearing city, but about the protagonist becoming trapped in his own reflection, a metaphor for his emotional and psychological isolation.
In crafting the universe of Mirrorty, I wanted to build a world where the boundary between reality and illusion was constantly shifting. The protagonist’s journey is shaped by his alienation, both from society and from his own identity. As he becomes part of the mystery surrounding the disappearances, the mirror becomes an essential tool for exploring his psychological unraveling. The world he inhabits is one where perception and reality collide, and every mirror serves as a window into an alternate, distorted version of himself.
To structure the story, I followed a classic three-act structure, with a clear adherence to the Hero’s Journey. I also drew from Carl Jung’s theory of archetypes to shape the protagonist’s character arc, which centers around self-discovery and transformation. The film’s world-building—its setting, characters, and narrative—is meant to immerse the viewer in a universe where every reflection, every shift in the protagonist’s reality, is a part of a greater, often troubling, mystery. Mirrorty is a film that invites viewers to revisit it, offering new insights and emotional depth with each viewing, and I wanted the universe to feel layered and complex, just as the reflection in a mirror holds more than meets the eye.
YOUR FILMS HAVE BEEN RECOGNIZED AT FESTIVALS AROUND THE WORLD. HOW DO YOU BALANCE THE CULTURAL NUANCES OF GLOBAL STORYTELLING WITH MAINTAINING YOUR UNIQUE VOICE AS A FILMMAKER?
Let me give you an example from The Librarian to explain this. In the film, the protagonist Mazhar is passionate about books and languages, particularly the works of Federico García Lorca, but he finds himself struggling with the Arabesque culture surrounding him. The presence of Arabic signs and the foreign language around him becomes a source of alienation, creating a cultural conflict that Mazhar has to navigate.
While this cultural context is important to the story, the themes of the film go far beyond that. Mazhar’s journey is about searching for identity, feeling “stuck,” and trying to reconcile inner desires with external pressures—universal themes that anyone, regardless of culture, can relate to. These underlying emotional struggles are what make the story accessible and resonate with a global audience.
What I always aim for in my work is to weave together personal cultural elements with universal human experiences. In The Librarian, the specific cultural backdrop adds richness and depth, but it’s the shared themes of self-discovery, isolation, and the quest for meaning that make the film connect with viewers worldwide.
By grounding my stories in both personal and cultural realities while exploring universal emotions, I can maintain my unique voice as a filmmaker while ensuring my films have a broader appeal. The balance of these two aspects is what makes storytelling both powerful and globally impactful.
IS THERE A PARTICULAR GOAL OR MISSION DRIVING YOUR CREATIVE JOURNEY?
Yes, there is a particular mission that drives my creative journey, and it is deeply rooted in my intellectual perspective and my identity as a filmmaker. My ultimate goal is to use cinema as a tool to address real-world issues and offer solutions to the unsolved problems of our time. As I always say, “With my intellectual perspective and filmmaker identity, I strive to find solutions to the world’s unsolved real-world problems or contribute to those solutions through making movies. That’s what I do.”
Cinema, for me, is not just an art form; it’s a powerful platform for change. Through my films, I aim to challenge conventional thinking, provoke important conversations, and inspire new ways of understanding the world. This mission drives everything I do as a filmmaker.
At the same time, my background in mathematics and business administration adds a unique dimension to my work. It allows me to approach filmmaking analytically and strategically, while still maintaining the creative and artistic vision that defines my films. The combination of these intellectual aspects enables me to address complex issues through storytelling in a way that is both thought-provoking and accessible.
Ultimately, my goal is to create films that are not only entertaining but also contribute meaningfully to society by offering solutions or raising awareness about the world’s most pressing challenges. That is the heart of my work, and it’s what motivates me every day as a filmmaker.
WHO ARE YOUR FAVORITE DIRECTORS?
Alfred Hitchcock, David Lean, Sergio Leone, and Steven Spielberg.
THE FILM INDUSTRY IS CONSTANTLY EVOLVING WITH NEW TECHNOLOGIES LIKE VIRTUAL PRODUCTION AND AI. HOW DO YOU SEE THESE DEVELOPMENTS IMPACTING THE FANTASY AND SCIENCE FICTION GENRES, AND YOUR OWN FUTURE PROJECTS?
Looking to the future, what excites me most about the evolving landscape of cinema is how technologies like AI and virtual production will open up new possibilities for storytelling, especially in the fantasy and science fiction genres. These genres have always been at the forefront of pushing the boundaries of imagination and technology, and with these new tools, the creative potential is even greater.
For filmmakers, particularly independent ones like myself, the integration of virtual production and AI can lower the barriers that have traditionally made these genres expensive to produce. Virtual production, for example, allows filmmakers to create entire worlds without the need for vast physical sets or complex special effects that would normally require a huge budget. This makes it possible to craft complex, imaginative universes in a more cost-effective manner, which is incredibly exciting for filmmakers who have big ideas but limited resources.
AI also has the potential to transform filmmaking by aiding in everything from scriptwriting to visual effects. As an independent filmmaker, the ability to work with cutting-edge tools that once seemed out of reach is thrilling. It opens up opportunities for greater creative freedom and efficiency. I see these advancements as a way to democratize the filmmaking process, allowing more filmmakers to bring their stories to life and explore new worlds and ideas in ways that were once reserved for big studios.
As for my own future projects, I see these technological advancements as essential tools that will allow me to push the boundaries of what’s possible in the genres I love. They will give me the ability to craft even more immersive and fantastical experiences while maintaining the creative integrity and vision I’ve always aimed for. It’s an exciting time for filmmaking, and I look forward to seeing how these new technologies will continue to shape the future of cinema, especially in the realms of fantasy and science fiction.
AS A FILMMAKER WITH A DOCTORATE IN FILM AND TELEVISION, HOW DOES YOUR ACADEMIC EXPERTISE SHAPE YOUR VISION AND EXECUTION ON SET? DO YOU APPROACH DIRECTING DIFFERENTLY BECAUSE OF YOUR SCHOLARLY INSIGHTS?
My academic background, especially my doctorate in Film and Television, deeply influences both my vision and my execution on set. Through my studies, I’ve developed a nuanced understanding of film theory, narrative structure, and the psychological and cultural dimensions of storytelling. This intellectual foundation allows me to approach filmmaking not just as an art form, but as a discipline where theory and practice come together.
For example, in The Librarian, my doctorate research on film theory, particularly regarding identification in cinema and Lacanian concepts of the mirror stage, directly informed how I approached the film’s themes, visual style, and even the character development. The scholarly insights I gained from my research allowed me to craft a story that was intellectually complex, while also deeply emotional and relatable to audiences.
On set, my academic expertise helps me to maintain a clear sense of direction while ensuring that every technical choice, whether it’s composition, lighting, or camera movement, serves the narrative and thematic goals of the film. I approach directing with a strong emphasis on conceptual clarity, knowing that a solid understanding of film theory allows me to communicate more effectively with my crew and actors.
My academic background also allows me to take a more reflective approach when faced with challenges. For instance, during the making of The Librarian, the pandemic presented significant obstacles, but my education gave me the tools to think critically and creatively about how to solve problems. I didn’t see the constraints as limitations, but rather as opportunities to innovate, adapting to the situation and finding ways to tell the story in new ways. This ability to pivot and think strategically—while always staying true to the film’s intellectual and artistic vision—is something I attribute to my academic training.
Ultimately, my scholarly insights and practical filmmaking experience are inseparable. They work hand-in-hand, enriching each other, and ensuring that every project I work on benefits from a strong intellectual foundation, a deep understanding of cinema, and a creative execution that pushes boundaries.
WHAT ADVICE WOULD YOU GIVE TO ASPIRING FILMMAKERS?
My advice is simple: “Read every day, watch every day, write every day, and then make your movie.
WHAT UPCOMING PROJECTS OR GOALS ARE YOU MOST EXCITED ABOUT?
My next project is Kanlısırt – The Blood Ridge, a feature film I’m writing and directing. The script is already finished. Set during The story is about the battle between Turkish Army and British Army at the Blood Ridge (Kanlısırt), Gallipoli, during World War I. As the most award-winning filmmaker, my goal is for this film to be watched by 13.5 million people, making it the most-watched movie in Turkey. I believe that the filmmaker with the most awards should also create the most-watched film, and that’s what I aim to achieve with this project.
You can connect and know more about Serkan Aktaş on IMDb, LinkedIn, TMDB, Letterboxd, FilmFreeWay @SerkanAktas, Vimeo, X @AktashSerkan, and YouTube @serkanaktash2869
