Iren is a film scholar, a polyglot, and a producer who has always been drawn to the spaces between worlds—between languages, eras, and ways of seeing. She moves through cultures and disciplines with curiosity and conviction, weaving together seemingly disparate threads: ancient languages and futuristic cinema, myth and machine, personal memory and speculative thought.

She began her academic journey at Boğaziçi University, Turkey's most respected institution, where she studied languages and literature. That meant not only mastering grammar or translation but engaging with the deep structures of thought carried through Ancient Greek, Latin, Spanish, and other languages. For her, language is more than a tool—it’s a time machine, a philosophical system, a kind of archaeology of the mind. By the time she graduated, she had become fluent in eight languages, each of them offering a different lens through which to view the world and its many layered meanings.

It was through this linguistic and cultural sensitivity that cinema began to feel inevitable. Film, like language, is a system of signs—but one that breathes, moves, and affects. It is language in motion, feeling through frames. She pursued her master’s degree in Film Studies at ELTE in Budapest, where her research gravitated toward the questions she had long been asking in quieter ways: What does it mean to be human? How do bodies, identities, and selves shift in relation to time and technology? Her thesis focused on posthumanism and transhumanism in cyberpunk science fiction, especially in screen adaptations derived from graphic novels. She examined how cinema envisions the future of humanity in contrast to its representations in literary forms, particularly graphic novels that blend visual intensity with philosophical depth. These weren’t just theoretical questions. They spoke to a personal fascination with liminality: the in-between states where transformation begins, where boundaries blur, and where the future leaks into the present.

Outside the university, Iren brings these interests into the tactile, collaborative world of filmmaking. She has worked as a producer, assistant director, and production manager on a wide range of short films, gaining hands-on experience in both Istanbul and Budapest. Whether coordinating shoots, navigating creative tensions, or helping shape a story’s arc, she approaches production as a kind of translation—an act of turning vision into experience, abstract concepts into images, and emotions into rhythms. She is especially drawn to projects that carry poetic risk or conceptual density, where the visual language resonates on more than one level, and the viewer is asked not just to watch, but to think and feel in new ways.

Her love for the arts doesn’t stop at cinema. She has also volunteered at the Pera Museum in Istanbul, where she engaged with curatorial practices, educational programming, and the subtle politics of exhibition. That experience further sharpened her attention to how space, context, and spectatorship shape meaning. In every role—whether as a scholar in a library, a producer on set, or a museum assistant thinking through wall texts—what drives her is the same: a desire to trace how we tell stories about ourselves and how those stories evolve across time, culture, and medium.

She is currently preparing to apply for a PhD program, where she hopes to further explore the intersections of posthumanist theory, cinematic aesthetics, and speculative fiction. Her vision is to continue thinking critically about how technologies reshape our sense of the body, the self, and the possible—while staying rooted in the cultural and philosophical foundations that still speak, even across millennia. She is particularly interested in how narrative form and visual grammar shift when imagination collides with machine logic.

In everything she does, Iren tries to hold both the past and the future in view. Whether decoding an ancient text or dissecting a science-fiction film, she believes the most powerful stories are those that remind us who we were—and challenge us to imagine who we might become.