Metin Erksan, born in 1929, was a pioneering Turkish filmmaker who saw cinema as a medium of artistic expression, distinct from mere entertainment. With a background in art history from Istanbul University and being the brother of a lesser-known director, Cetin Karamanbey, Erksan was well-positioned to combine his passion for film with aesthetic concerns.
Erksan worked as his elder brother's assistant before making his debut with the script for "Binnaz" (1950) produced by Atlas Film Production Company. Like many other serious filmmakers of the era, Erksan also worked as a columnist in newspapers and film periodicals before embarking on an active filmmaking career.
Metin Erksan's directorial debut, "Asik Veysel" in "Hayati" (1952),marked the beginning of his unique and controversial presence in Turkish cinema. The film, which told the dramatic life of the famous blind poet and songwriter Asik Veysel, was later banned by the censorship committee for portraying the Turkish land as "infertile".
Following the 1960 Coup d'Etat in Turkey, Erksan established himself as the "enfant prodige" of the post-60 era, producing some of the best films of this period, including the Golden Bear Award-winning "Susuz Yaz" (Dry Summer). His films were characterized by an eclectic blend of modernist themes, metaphysics, and Marxist notions.
As a socially engaged filmmaker, Erksan played a significant role in the foundation of the Union of Turkish Film Workers and the Association of Turkish Filmmakers. He was also a candidate for the Turkish Labour Party in the 1965 general elections.
However, it is essential to note that Erksan's films are primarily celebrated for their aesthetic maturity, which coexisted with a strong social commitment until 1965. Like other filmmakers working within the constraints of the Turkish film industry, Erksan also produced commercial films to survive within the liberal-minded Pine Tree (Yesilcam) system.
After 1965, Erksan gradually abandoned his social outlook and focused on making market-oriented popular films or violent personal fantasies, exploring themes of loneliness and obsessive love. He continued to work on short films and serials for the Turkish Radio and Television (TRT) in the 1970s before eventually giving up filmmaking altogether after 1983.
Erksan began teaching at Istanbul Mimar Sinan University, where he remains active, mostly detached from the current discussions on modern Turkish cinema.
