Serkan Aktaş is a visionary filmmaker with a unique voice in contemporary cinema. Known for his deep intellectual approach and thought-provoking storytelling. Aktaş blends symbolism, complex character arcs, and visually stunning imagery in his films. His work often explores profound themes of life, death, and rebirth, aiming to challenge audiences and spark meaningful conversations. With a strong academic background and years of experience in filmmaking, he continues to push the boundaries of traditional cinema.
Aktaş’s most recent film is Resurrection Under the Ocean. The film has received international recognition, winning multiple awards and capturing the attention of audiences worldwide. He is drawing from influences across literature, philosophy, and spirituality. Serkan crafts films that connect emotionally with viewers while remaining rooted in intellectual exploration. His work is a reflection of his belief that cinema should not only entertain. But also offer solutions to real-world problems, aiming to contribute positively to society through the power of storytelling.
With a deep appreciation for tradition and a commitment to innovation. Aktaş’s career continues to inspire both filmmakers and audiences alike. As he strives to leave a lasting impact on the global cinematic landscape. We had the privilege of sitting down with Serkan Aktaş, the acclaimed director behind Resurrection Under the Ocean. He delve into his cinematic vision, creative process, and the intellectual journey that shapes his unique approach to filmmaking.
The Official Trailer for Resurrection under the Ocean
indieactivity: How did you get into directing? How would you describe your style?
Serkan Aktaş (SA): I first got into directing at the Istanbul Cinema Academy in 2015. When I worked on my short film Lovedex Night Shift. As a student, I collaborated with my classmates on the script. We all took on multiple roles, including executive producer, sound recorder, editor, and director. I had the responsibility of directing one of the first scenes on the shoot, and that experience was transformative. It gave me a glimpse of the power of storytelling through film. And, the impact I could have by guiding the audience’s emotions through visuals. From there, I realized this was the path I wanted to pursue, and I’ve been focused on filmmaking ever since.
As for my style, it’s something you can see reflected in my work and my influences. I strive to create films that resonate emotionally and psychologically with the audience. I admire directors like Alfred Hitchcock, David Lean, Sergio Leone, and Steven Spielberg. Because of their ability to combine technical mastery with emotional depth. Hitchcock’s ability to create tension. Lean’s grand yet intimate storytelling. Leone’s use of silence and close-ups to build suspense. And, Spielberg’s deep emotional resonance—all of these have influenced how I approach filmmaking.
I believe that film is not just about telling a story. It’s about diving into the emotional and psychological lives of the characters. I use camera angles and shots, like extreme close-ups and unique vertical angles. It immerses the audience in the characters’ inner worlds. The shots I choose are not just technical decisions; they are integral to understanding the emotional journeys of my characters. I want the camera to be a tool for exploring the deepest corners of the human experience. Allowing the audience to connect viscerally with the story.
Do you hire a casting director, or do you like to cast? If so, what criteria go into your casting?
Serkan Aktaş (SA): Typically, I prefer to work with a casting director who manages the overall casting process. They bring a wealth of experience and help ensure that the right talent is chosen for each role. However, for the protagonist and antagonist—who are central to the story—I take a more direct approach. These characters are at the heart of the narrative. So, I feel it’s important to personally select the actors who will bring them to life.
When choosing actors for these key roles, it’s not just about technical ability. It’s about finding someone who can truly embody the essence of the character. These decisions are deeply personal for me. As the performances of the protagonist and antagonist will shape the entire tone and impact of the film. I want actors who can connect with the character on a profound level. And, add their own unique interpretation to the role.
What went into the casting process for “Resurrection Under The Ocean”?
Serkan Aktaş (SA): For Resurrection Under the Ocean, the casting process was significantly influenced by my underwater Director of Photography, Akın Bağcılar, who is the best underwater D.O.P. in Turkey. Akın played a crucial role in helping me find the key cast members. One of the main challenges was finding an actor who could swim well and hold his breath for long periods—up to one minute underwater.
Akın recommended Adnan Yanbay, a national diving athlete in Turkey, for the role. They had previously worked together on a project in Kaş, Antalya, so they were already close friends. Adnan’s performance in the film was truly outstanding. Not only did he excel in the demanding physical aspects of the role, but he also proved his acting talent. His work earned him several awards, including Breakthrough Performance, Runner-Up Best Performance, and Best Actor
Without giving anything away, tell us a little bit about the script, how did you come up with the idea?
Serkan Aktaş (SA): Without giving too much away, Resurrection Under the Ocean is a symbolic journey about a man sinking into the depths of the ocean and experiencing a form of resurrection. It’s a visual exploration of themes like life, death, and rebirth. The ocean in the film acts as a metaphor for inner transformation, with the character descending into darkness, symbolizing psychological death, only to be reborn through a painful but beautiful resurrection process.
The idea for the film actually originated from a scene in The Librarian. It was meant to depict the protagonist’s rebirth, but after editing, my consultant—who was overseeing my doctoral project at Beykent University—felt that the scene didn’t quite fit within the narrative. He suggested I remove it. While I was disappointed at first, I realized this scene had a life of its own, and with a new perspective, I could expand it into a full short film. And that’s how Resurrection Under the Ocean came to be. It’s almost as if the scene itself underwent a resurrection after being discarded, and now it’s a project that’s been recognized in over 50 festivals and won numerous awards.
The core themes are inspired by Jung’s concept of psychological maturity and the Sufi idea of human perfection. The ocean serves as a powerful symbol for delving into the depths of the human psyche, confronting one’s internal struggles, and eventually achieving rebirth. The sound of a whale, which symbolizes vitality, signals the beginning of this resurrection. As the character emerges from the ocean’s depths, it signifies a spiritual awakening and renewal. The film combines visuals, music, and choreography to create an emotional and sensory journey, exploring the idea that through our darkest moments, we can find the potential for a new beginning.In essence, Resurrection Under the Ocean is about inner discovery, self-realization, and the cyclical nature of life and rebirth. It’s a deeply personal project that challenges the boundaries of traditional cinema, bringing a unique perspective to storytelling.
Who is “Resurrection Under The Ocean” for? Who do you think would enjoy it the most?
Serkan Aktaş (SA): Resurrection Under the Ocean is for anyone who’s ready to dive deep into the human experience and explore the themes of life, death, and rebirth. It’s for those who appreciate a more intellectual and symbolic approach to storytelling, where the visuals and emotions are just as important as the plot.
I believe the film will resonate most with audiences who are open to philosophical and psychological journeys. People who appreciate surreal imagery and are curious about how cinema can be a tool for exploring real-world problems and human transformation will find a lot to connect with here.Ultimately, my goal with every film, including Resurrection Under the Ocean, is to share the same sense of joy and wonder that cinema brings me. I want the audience to experience a profound emotional journey, one that sparks their own reflections on life, their inner struggles, and their potential for personal rebirth. It’s about making people feel something deeper and more meaningful, giving them a chance to experience the magic of cinema in a way that challenges, moves, and inspires them.
How long did it take to shoot the entire film?
Serkan Aktaş (SA): The entire film was shot in just one day, in the stunning coastal town of Kaş, Antalya, Turkey, along the Mediterranean Sea. The location itself added a unique element to the production, with the natural beauty of the ocean playing a central role in the film’s narrative and atmosphere.
How long was the post-production process?
Serkan Aktaş (SA): The post-production process took just over a week. I edited the film in three days and spent one day working on the sound effects and the visual effects. My talented composer, Emil Erten, created the music and soundtracks in just two days. The colorist worked on the film for two days, giving it the final touch to bring the visuals to life.
The film had talents behind the scenes. Why is diversity important infront and behind the camera?
Serkan Aktaş (SA): Diversity, both in front of and behind the camera, is crucial because it brings multiple perspectives and enriches the storytelling process. Each person involved in the film – from the director of photography to the composer to the sound designers – contributes their unique voice, which collectively elevates the project. In Resurrection Under the Ocean, I worked with talented individuals who brought diverse expertise to the table, helping to create a visually stunning and emotionally resonant film.
For me, diversity goes beyond just representation; it’s about the fusion of different ideas, experiences, and skill sets. Just as I draw on concepts like abstract mathematics, fractals, and quantum mechanics to inform my films, incorporating a variety of talents behind the scenes allows the film to achieve a complexity and depth that can’t be achieved with a single perspective. This collaboration helps me shape a richer, more layered narrative that mirrors the thematic explorations of life, death, and rebirth in the film.
Cinema is an art form that thrives on the collective contributions of many, and I believe that it’s this diversity of thought and creativity that allows us to push boundaries and tell stories in new, unique ways. As I always say, ‘I want people to experience the same joy and wonder that cinema brings me.’ The diversity in our team helped bring that vision to life.
What are your goals with “Resurrection Under The Ocean”?
Serkan Aktaş (SA): My primary goal with Resurrection Under the Ocean is for the film to reach audiences all over the world. I truly believe in its potential, and I hope it will be screened on platforms like Amazon Prime in both the US and UK. This would allow a wider audience to experience the story and the unique themes of rebirth, inner transformation, and the exploration of life’s deeper questions.
What’s next for you? What are you working on right now?
Serkan Aktaş (SA): My upcoming project is Kanlısırt – The Blood Ridge, a feature film that I’m both writing and directing. The script is already complete, and the film is set against the backdrop of the intense Gallipoli Campaign during World War I, focusing on the fierce battle between the Turkish and British forces at Blood Ridge. As the most awarded filmmaker in Turkey, my goal is for this film to become the highest-grossing film in the country, with a target of 13.5 million viewers. I believe that someone with my level of recognition should aim to make the most widely seen film, and that’s exactly what I’m working towards with Kanlısırt. On top of that, I’ve been working with a friend on a sci-fi robot story for the last 9 months. We’ve recently completed the storyline, and next week, we’ll begin developing the script.
What would you recommend to a new director? Any special courses, workshops, helpful books they can read?
Serkan Aktaş (SA): To a new director starting their journey, I would recommend embracing a mindset of continuous learning and exploration. The more you feed your mind, the more you’ll be able to create. Make it a habit to read, watch films, and write every day—this helps to keep your creative process fresh and evolving.
As for resources, I highly suggest diving into classic literature, which has shaped my own storytelling. Authors like Cervantes, Shakespeare, Victor Hugo, Alexandre Dumas, Jack London and Charles Dickens provide rich material for understanding character development and narrative structure. Russian authors such as Dostoevsky, Tolstoy, and Pushkin also offer profound insights into human psychology and emotion. It’s also valuable to explore Eastern literature, including the works of Mevlana (Rumi), Sadi Şirazi, and Ferîdüddin Attâr, as they bring a spiritual and philosophical depth that can greatly inform your storytelling.
Additionally, I recommend learning from both ancient and modern works. The structure and themes in Greek tragedies, as well as the intricate storytelling of authors like Marcel Proust, can give you a broader understanding of the human condition, which is essential for any director.
When it comes to courses or workshops, there’s no substitute for hands-on experience. But also, seek out theoretical knowledge—film studies, storytelling workshops, or even philosophy and psychology can help deepen your understanding of narrative, character, and emotion. A well-rounded approach to both practical and theoretical knowledge will serve any director well.
Who is your favorite director? Why?
Serkan Aktaş (SA): My favorite directors are Alfred Hitchcock, David Lean, Sergio Leone, and Steven Spielberg. Each of them has significantly influenced my filmmaking style and approach. Alfred Hitchcock is a master of suspense and storytelling. His meticulous use of tension and psychological depth in his characters is something I greatly admire and strive to incorporate into my own films. David Lean’s ability to blend grand narratives with intimate, human moments in films like Lawrence of Arabia and The Bridge on the River Kwai has always inspired me. His work shows how to craft epic stories while still focusing on emotional depth, something I aim for in my own filmmaking.
Sergio Leone’s innovative approach to the Western genre, particularly his use of close-ups, taught me the immense power of visual storytelling. His films are transcendent, which is something I try to achieve with my own work. Lastly, Steven Spielberg’s mastery of combining adventure, emotion, and spectacle has always been a source of inspiration. His films make the audience feel a part of the story, and that’s an emotional connection I always try to evoke in my films. Each of these directors has shaped my understanding of cinema and storytelling, and I look up to their ability to emotionally engage audiences in a meaningful way.
What advice would you give directors around the world?
Serkan Aktaş (SA): As a director, my guiding principle is to use the intellectual perspective and identity I’ve cultivated to address and offer solutions to the world’s unsolved real-world problems. I believe that filmmakers have a unique opportunity to contribute to these solutions by telling stories that inspire, challenge, and spark change. My advice to directors around the world is to embrace this responsibility, to think deeply about the world around them, and to use cinema as a tool for meaningful impact. The world needs artists who live for the betterment of humanity—those who seek to create with purpose and offer something of value to society.
Tell us what you think of the interview with Serkan Aktaş. What do you think of it? What ideas did you get? Do you have any suggestions? Or did it help you? Let’s have your comments below and/or on Facebook, Instagram, or Twitter.
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