MISAFIR

MISAFIR is a short documentary that captures the voices of the first generation of Turkish guest workers in Germany – personal, honest and visually strong. Created during my studies together with a small team. It was later screened in cinema and awarded. I was responsible for co-directing, cinematography, editing, color grading, animation and the full visual identity – from social media to the official poster.

CHAPTER 1 — Origins & Concept
MISAFIR – Vom Gast zum Gastgeber
"Misafir" means "guest" in Turkish. It’s a simple but powerful title, reflecting the journey of the first generation of Turkish immigrants who came to Germany as workers – often called 'guest workers'. The twist: they never really left. They built their lives here, raised families, and helped shape Germany's culture. Today, their children and grandchildren are no longer guests — they are hosts.
The idea for the film came from our personal background. Both my co-director Feyza and I are German-born with Turkish roots. My grandmother came to Germany alone, bringing my father as a child. Her story, and many like hers, inspired us. These voices deserve to be heard, especially now, as this generation slowly fades away.
We wanted to capture their real, unfiltered stories — not for show, but for truth, memory, and legacy.
CHAPTER 2 — Cinematography & Visual Language
As Director of Photography, I focused on capturing emotion through warm and nostalgic visuals. We used the Sony FX3 with various professional lenses. The interviews were filmed inside the participants' homes — cozy, authentic settings that reflected Turkish culture: lace tablecloths, tea glasses, carpets, traditional sweets.
The color grading was inspired by analog film. Warm tones, soft grain, and faded blacks were used to give a timeless feel. It was important to create a visual language that respected the past but used modern tools to bring it to life.
CHAPTER 3 — Editing & Sound Design
I edited the entire film, including color, sound, and atmosphere. We had to work with a lot of footage — sometimes with audio issues — so I re-created missing sounds through Foley techniques. I wanted the sound to feel natural and close, like you’re in the same room. 
The editing rhythm was calm and human. No flashy cuts — just honest storytelling, with space to breathe and reflect.
CHAPTER 4 — Animation & Title Design
The animated intro was designed by me. I worked with old archival images and brought them to life with subtle motion and transitions. It was important to respect the original material while adding a sense of presence — like giving memories a heartbeat.
I used animated masks and blending to transition smoothly between scenes. Each team member was credited within the animation. It was both nostalgic and modern.
Giving archival images motion and meaning.
CHAPTER 5 — Poster Design & Visual Identity
The key poster was designed as a stylized still life. I used a Baby Benz — a car known in many immigrant cultures — placed on a Persian carpet inside a white photo studio. The roof was stacked with personal items: a suitcase, a satellite dish, vinyl records, backgammon, tea, a Turkish flag.
Each interviewed family received a unique poster variation. I also designed social media teaser posters and a full visual identity with fonts, textures, and colors inspired by 70s Turkish TV.
MOODBOARD
CHAPTER 6 — Social Media Campaign (Instagram)
I created a full Instagram campaign for the film — by myself, from scratch. This included teaser posts, seamless carousel layouts, reels, quote graphics, and behind-the-scenes content. I used lace patterns, Turkish elements, and personal photos to create a warm and familiar feed.
The posts were always grouped in threes to form one cohesive grid. Stories included quizzes, interactive questions, and community dialogue — just like the film’s spirit.
CHAPTER 7 — Exhibition & Thesis Presentation
As part of our Bachelor thesis, we created an interactive exhibition. I designed and built the entire space: a retro TV looping archive footage, vintage guestworker clothes and tools, handmade postcards with Spotify QR codes, Turkish tea and Baklava. Visitors could scan playlists, join open talks, and even perform poetry.
The space was warm, nostalgic, and inclusive — just like the film. I was one of the main hosts and explained therefore our process, answered questions, and guided the conversations.
CHAPTER 8 — CinemaxX Premiere
Seeing our film on a big screen was surreal. The premiere took place at CinemaxX Krefeld, organized in collaboration with the City of Krefeld and the Union of Turkish Associations. Guests included the mayor, our interviewees, friends, family, and cultural figures.
It was a private screening, but an unforgettable milestone. Hearing my name in the credits, seeing our story reach others — I’ll never forget that moment.
CHAPTER 9 —  Reflections
“Misafir” was more than a project. It was a tribute to our families, our roots, and our community. It showed me what visual storytelling can do — how it connects, heals, remembers.
As a filmmaker, I learned how to lead, create, edit, and connect. As a person, I found pride in my heritage.

CREDITS:
A film by
FEYZA TAN & YASIN KÖROGLU 
UNION presents
“MISAFIR” 
Starring
SAIT
MENSURE DOGAN
FiRDEVS AKTAS
Featuring
YIRMBES FAMILY
HAFIZ ISIK 
Written and Directed by
FEYZA TAN 
Co-directed by
YASiN KÖROGLU
Director of Photography & Post-Production
YASIN KÖROGLU
Executive Producer
SALIH TUFAN ÜNAL
Second Camera Operator
OKAN SELIM SÜRGET
First Assistant Camera
HÜSEYIN BOSTANCI
Second Assistant Camera
NIRA AKTAS
Gaffer / Lighting
MOHEB ANWARI
Sound Recording
HAKAN HÖKELEKLI
Production Coordination
KEREM SEMIZ
Photography
HATICE SAGLAM
IREM FEYZA AYTULUN
ILAYDA GÜNDOGDU
Casting Director
RABIA ÖZMEN
Assistant Directors
MERYEM SEMİZ
MÜBERRA BAYINDIR
Graphic Design & Creative Director
YASIN KÖROGLU

This project was developed as part of my Bachelor’s degree in Communication Design and realized as a collaborative documentary film project.
All visual materials shown here represent my personal contributions (camera work, editing, grading, design & visual identity).
The full film is not published here.
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