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Settar Tanrıöğen

Settar Tanrıöğen

Actor · 66 years old

Profile

Age66
Birth dateOctober 22, 1960
BirthplaceDenizli
ProfessionActor
Zodiac signLibra
Eye colorBrown
EducationHacettepe University, Archaeology and Art History Department

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Settar Tanrıöğen — Biography

Settar Tanrıöğen was born on October 22, 1960, in Denizli (a couple of sources give 1962 instead, but that conflicts with the majority). After finishing school locally, he graduated in archaeology and art history from Hacettepe University; his interest in acting began in the 1980s with Ankara's theater circles. He made his film debut in 1996 as Kız Naci in Eşkıya, and became widely known a year later for playing Saldıray in the series Bir Demet Tiyatro.

Across a career approaching three decades, he has appeared in productions including Takva, Vavien, Çoğunluk, Gölgeler ve Suretler, Urfalıyam Ezelden, Sultan, Babam Sağolsun, Baba Candır and Kuzgun. He has won Best Supporting Actor twice from the Turkish Film Critics Association, for Vavien (2009) and Çoğunluk (2010), again at the Ankara International Film Festival (2011), a jury prize at Adana's Golden Boll Festival (2014), the Sadri Alışık Award (2015), and an honorary award at Antalya's Golden Orange Festival (2025). In January 2024, while filming Kızılcık Şerbeti, he was found to have suffered a brain hemorrhage; after roughly two months of treatment he recovered, and Ahmet Mümtaz Taylan took over his role. He later returned to set work, appearing opposite Binnur Kaya in the 2026 series Düğünümüz Var.

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Their work through different eyes

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

Bekir's Father in Kader, Kız Naci in Eşkıya, Zeyyat in Yazı Tura: Settar Tanrıöğen moves across Demirkubuz's harsh melodrama, Turgul's crime drama and a Uğur Yücel film. In my view his value is that he enters a film's tone without taking over the scene, and his critics' awards for Vavien and Çoğunluk fit that restraint.

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

Ali Sadi Hoca, Hoca Kamil, Terzi Derviş: Settar Tanrıöğen's parts return now and then to the same weighty type who carries authority or wisdom. In my view that type fits Bir Başkadır, but it risks narrowing with repetition; ordinary men such as Bekir's Father in Kader show him outside that line.

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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