ERDOĞAN’S
TERROR LIST
(44 min., ZDF 2023)
(44 min., ZDF 2023)
(44 min., ZDF 2023)
For their documentary ERDOĞAN’S TERROR LIST, Can Dündar and Hauke Wendler set off on a highly adventurous journey: From Berlin via Frankfurt, Stockholm and Paris to Buenos Aires, where Dündar meets the killer in prison who was supposed to shoot him in 2016. A political road movie that ends up with uncomfortable questions: How long are German politicians going to put up with Erdoğan’s ruthless actions because they expect foreign policy advantages from the Turkish autocrat, for example in Ukraine or in dealing with refugees?
Directors: Can Dündar and Hauke Wendler
Film Editor: Sigrid Sveistrup
Director of Photography: Andrzej Król
Music: Taco van Hettinga
Graphics: Georg Krefeld
Commissioning Editor: Christian Rohde (ZDF)
Executive Producer: Hauke Wendler
Production: OTHER PEOPLE pictures
“The film, which is now running shortly before the fateful election in Turkey, is designed as a road movie. It shows people on the run and on permanent alert. (…) The fact that they seek refuge in states that have to come to political terms with Turkey makes their status all the more precarious.”
(Christian Buß, Spiegel Online)
“For the film ‘Erdoğan’s Terror List – How the Turkish Government hunts Critics worldwide’, the authors had to move around with armoured cars and bodyguards from the LKA Berlin, as Can Dündar is still being threatened. (…) The film also shows how Erdoğan uses international crises and wars to remain in power. Anyone who criticises the Turkish president’s policies and stands in the way of his claim to power ends up on the terror list.”
(ANF News)
“By interviewing the Minister of the Interior of North Rhine-Westphalia Herbert Reul, Dündar and Wendler give the events a domestic dimension. Rarely frank, Reul admits that one has to put up with repression against the freedom of the press, because: ‘One must not forget that Turkish policy has also helped us in the matter of refugee flows, that the burden on the Federal Republic of Germany has not become as great as it could have become’. (…) Reul routinely voices the repugnant amorality of bourgeois society without batting an eyelid.”
(Nicolai Hagedorn, Neues Deutschland)