Voiceless

A few years before I decided on the story of Voiceless, I watched The Seeking Justice starring Nicholas Cage and from that day on I always thought about this proposition: What would I do if one day someone came along and told me that they could harm anyone they wanted to to any extent and that after it happened I would not be guilty in any way and nothing would be demanded of me. The main factor that made it difficult for me to find an answer to this question was my conscience, there was a part of me that wanted 5-10 people to die without hesitation and there was a part of me that knew that if I did that I would no longer be the innocent, good, kind, etc. person that I was so proud of being. I am crushed between the two and I live my life wishing that this opportunity would never come my way, because it is not a virtue not to steal from someone who does not need it, it is a virtue not to steal at the cost of starving to death, and I dread such a day when my virtue will be tested, even if I want it very much.

I wanted to emphasize minimal and disturbing elements in the movie in order to reflect all these feelings well, small gestures, more specific angles like dutch angles, plans that match each other in sound but jump in image... For this reason, I kept the room very simple, as for lighting, I used the room's own lighting with a keylight to break the cliché of the dark room in revenge movies, and since the room is white, I kept the blank walls dense in the frame to increase the disturbing texture in the movie.
Since I am experienced in sound design and editing and I know that sound is one of the main problems in student films, I aimed to work on these issues in Voiceless and to create a production worthy of my graduation film. At this point, I envisaged using rhythmic editing with the help of music and turning moments into concepts that can be navigated through slow motion. In terms of the use of color, I used the pink sweater on the girl to emphasize her innocence and the lips of the woman to emphasize her vamp personality, while I fictionalized the fact that the guilty man is actually insignificant in the story by not giving him any color.

While creating the characters, I consciously paid less attention to the guilty character, I think that whether or not he has a relationship with the girl, his non-specificity can contribute to the audience's identification with the other characters by making him someone in their own lives. For the same reason, I wanted to avoid any emphasis on the sexual nature of the attack and limit it to the text at the beginning of the film, because some pains are so great that at some point the nature of their causes becomes irrelevant.
I wanted to establish the character of the girl as someone who is quite innocent but far from childishly naïve, who is prone to approaching the fire of revenge with the dynamism of her youth, because I found this to be close to reality in line with my personal experience and observations, and at the same time, in order for her inability to do so to be important, she had to have a lot of will to do so.
I built the character of the policeman through "doing his own justice", he had to create certain conditions for the girl so that the reasons he would create in her consciousness to prevent revenge would decay one by one and she would fall into a difficult situation. This makes the film work because it feeds dynamics such as the representation of strong women and social revenge.

I wanted the characters of the girl and the woman to be very close but at the same time opposite, and the age difference between them made it easy for me to do that; A woman who has gone through the same path and has lost her conscience, yet remains good and is inspired by her conscience for the girl and looks up to her - and throughout the film the variability of these concepts of good and evil according to the situation and the subject is questioned - and a weak, victimized, victimized, and uncomfortable young girl who sees a strong, dominant woman in front of her and inevitably looks up to her, and is on the verge of thinking that it is essential to put her innocence aside. It is this conscience that underlies her characterization of herself as a policewoman.