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Başak Köklükaya

Başak Köklükaya

Actor · 52 years old

Profile

Age52 years old
Birth dateApril 19, 1974
BirthplaceAnkara
ProfessionActor
Zodiac signAries

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Filmography / Projects

Başak Köklükaya — Biography

Başak Köklükaya was born on 19 April 1974 in Ankara. She studied at Hacettepe University before training in the ballet department of the Ankara State Conservatory and the theatre department of Bilkent University's Faculty of Music and Performing Arts. She joined the Şehir Tiyatroları (City Theatres) in 1995, the same year she made her television debut in Yazlıkçılar and her film debut in Ferzan Özpetek's Hamam, which earned her a promising-newcomer award at the Ankara Film Festival. Her role in Zeki Demirkubuz's Üçüncü Sayfa (1999) swept nearly every major Turkish film award, including prizes from the Antalya and Istanbul festivals, and she was also honored at a festival in Spain in 2001. Her part in İtiraf carried the film into the Un Certain Regard section of the 2002 Cannes Film Festival. Following films such as Bir Tutam Baharat, Mustafa Hakkında Herşey, Organize İşler, Harem Suare and Derviş, she won further best-actress honors for Küçük Kıyamet (2006) and again for İşe Yarar Bir Şey (2017). Since 2019 she has reached wide international audiences playing Serap Özgürsoy across all three seasons of the Netflix series Atiye.

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Their work through different eyes

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

Başak Köklükaya is a familiar face of Turkish auteur cinema: Nilgün in Zeki Demirkubuz's İtiraf, Zehra in Semih Kaplanoğlu's Süt. In both films the story moves through a woman the male gaze cannot fully grasp: Harun tries to bury what he knows about his wife, Yusuf cannot accept his mother. What these parts ask of Köklükaya, in my view, is playing that does not explain the woman away and leaves the viewer a share.

History & Society Lens Asks about the period, the social background and what the work reflects.

Başak Köklükaya's Gülbahar in Harem Suare belongs to the Yıldız Palace harem of 1908, an empire in collapse; her Bilge in Küçük Kıyamet is a modern city dweller who flees fear of an earthquake for a small town. In my view both parts show women at the edge of a shaken order, one in the palace of a falling empire, the other in the dread of the expected quake. In Küçük Kıyamet, Bilge is at the centre of the story.

These are not reader reviews: they are short editorial takes on this person's screen work, written from different viewer perspectives with AI assistance. Reader comments are below.

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