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Ufuk Bayraktar

Ufuk Bayraktar

Actor · 45 years old

Dağıstanlı in the series Vatanım Sensin

Profile

Age45
Birth dateSeptember 12, 1981
BirthplaceIstanbul
ProfessionActor
Zodiac signVirgo
Eye colorBrown
SpouseMerve Bayraktar

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Ufuk Bayraktar — Biography

Ufuk Bayraktar is one of the rare actors who came to cinema straight from a family coffeehouse; he made his name in Zeki Demirkubuz's films and as the young Ramiz Dayı in Ezel. In later years he worked mostly in military and patriotic productions.

He finished high school at Gürsoy College, skipped university and worked at the Firuzağa coffeehouse his father ran in Cihangir. There Demirkubuz discovered him in 2003, and he acted in Bekleme Odası and Kader. For Kader he won, in 2006, best actor at the 26th Istanbul Film Festival, the Behlül Dal Young Talent Special Award at the Antalya Golden Orange, and the Turkish Film Critics Association's Promising Young Actor award. In his early years he played the taxi driver in Nuri Bilge Ceylan's İklimler, Haluk in Semih Kaplanoğlu's Yumurta and Kemal in Ali'nin Sekiz Günü. His television breakthrough was Ezel in 2009-2011. From 2012 he played Bekir in Dağ and Dağ 2, Corporal Seyit in Çanakkale 1915, Dağıstanlı Celal in Vatanım Sensin and Hamza Ustaoğlu in Milat. On Kümes (2014) he also took on writing, directing and editing.

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Their work through different eyes

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

Ufuk Bayraktar's start in cinema came with author-directors: Zeki Demirkubuz's Bekleme Odası and Kader, Nuri Bilge Ceylan's İklimler, Semih Kaplanoğlu's Yumurta. Kader is the turning point, and his award came from that film. The Taksici in İklimler is a small part. That different directors called him one after another in the same years is, in my view, the most interesting thing about that period.

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

Ufuk Bayraktar's later years gather into one type: the uniformed man of homeland stories. Bekir in Dağ, Seyit Onbaşı in Çanakkale 1915, Dağıstanlı Celal in Vatanım Sensin. Together these parts mirror the story of homeland and sacrifice in recent television and cinema. In my view this repetition renews itself less than the open-ended parts of his first phase.

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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