Biyograficim
Mehmet Aslantuğ

Mehmet Aslantuğ

Actor · 65 years old

Profile

Age65
Birth dateSeptember 25, 1961
BirthplaceSamsun
ProfessionActor
Zodiac signLibra
Eye colorBrown
EducationActing training
Former spouseArzum Onan

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Mehmet Aslantuğ — Biography

Born on September 25, 1961, in the village of Dikbıyık in Samsun's Çarşamba district, Mehmet Aslantuğ is the fifth and youngest child of a Circassian farming family, Ubıh on his mother's side and Abzah on his father's, and lost his father to heart disease at four. After school in Terme, he left the business faculty he entered in 1978 to become a professional actor in 1985.

He debuted in 1986 with Gündoğmadan, then won three Golden Orange awards for Kapıları Açmak (1992), Yalancı (1993) and Yengeç Sepeti (1994), plus four Golden Butterfly, one Golden Boll and one Golden Objective award; Akrebin Yolculuğu screened in Cannes' Un Certain Regard in 1997. Known for Sedat Yalçın in Sıcak Saatler and Selim Arhan in Bir İstanbul Masalı, he also appeared in Hanımın Çiftliği, Veda, Ben Onu Çok Sevdim, Kardeş Çocukları, Masumiyet and the film Direniş Karatay.

In 1996 he married former beauty queen Arzum Onan, 1993 Miss Turkey and Miss Europe; their son was born in 2000, and they ended their 27-year marriage in May 2023. He ran unsuccessfully for parliament that year as a Türkiye İşçi Partisi candidate, received an Honorary Award with Meral Orhonsay at the 2025 Adana Altın Koza Film Festival, and in 2026 shared a farewell message after his mother's death.

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Their work through different eyes

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

Mehmet Aslantuğ's films of the nineties show a different side from his television face: Yengeç Sepeti (1994) is a family drama in which a weekend brings suppressed tensions to the surface, and Akrebin Yolculuğu (1997) is Ömer Kavur's dreamlike, time-bending last feature. In my view the pair shows an actor at home in harder, more inward cinema. Akrebin Yolculuğu can feel too opaque to some viewers; Yengeç Sepeti is the easier entry.

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

The recurring type in Mehmet Aslantuğ's roles is the man of responsibility: the finance minister torn between loyalty to the Sultan and anger at the occupiers in Veda (2012), the statesman Emir Celaleddin Karatay in Direniş Karatay, Selim Arhan of the mansion family in Bir İstanbul Masalı. In my view the consistency is reassuring but has a cost: men of different eras start to resemble one another. The most interesting case is the minister in Veda, whose high position still leaves him in doubt.

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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