PEUGEOT E-3008

credits

In our new Peugeot E-3008 films featuring Uraz Kaygılaroğlu and Yasemin Kay Allen, we aimed to convey the brand’s embraced sense of “freedom” to the audience. We focused on crafting a timeless journey narrative, showcasing the dynamic relationship between our character and their companion on this journey, the E-3008—an ally that helps them experience emotions like excitement, peace, and joy in a striking way.

Client Peugeot
Agency Being Çözüm, ICM
Director Tuğkun Zeroğlu
Assistant Director Oğulcan Köyler
Producer Diba Dilsiz
Director of Photography Serkan Güler
Starring Yasemin Kay Allen, Uraz Kaygılaroğlu
Art Director Simge Kayar
Production Team Leader Şükrü Yanıkgil
Production Team Tolga Aksarı, Mertcan Kırçal, Umut Aktaş, Hazal Günay
2nd A.D Özlem İnan
3rd A.D Gökçe Özakman
Focus Puller Kadir Candemir
DIT Ahmet Polat
Steadicam Yusuf Belli
Gaffer Selim Ertürk
Drone Oğuz Albayrak
Russian Arm Operator Skypro
Grip Doublecheck
Colorist Ercan Küçük / The Post Brothers
Post Production Company Roots Post Production
Editor Emre Bekler / Hype Editing
VFX Kemal Telci, Kemal Gökalp
Storyboard Özgür Uyanık
Backstage Gizem Günkal
Casting Ayça Çelikbilek Koraltürk
Music Ogün Kayıkçı
Styling Berkan Kayapınar

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Our characters exist within various settings and emotional states during a specific time frame. Through road scenes, we aimed to evoke spontaneity and presence in the moment for the audience, while seamlessly and aesthetically integrating the vehicle’s features and innovations into the story.

When developing the visual language, we ensured the vehicle shots featured dynamic and sharper camera movements. In contrast, the scenes where Yasemin Kay Allen gazes at the stars at night and Uraz Kaygılaroğlu enjoys a late-night meal are composed of more static shots. Meanwhile, in the beach scenes, we employed softer steadicam movements to enhance the mood. However, for the party and street musician scenes that lead us to the film’s climax, we opted for more pronounced and dynamic camera movements.

To allow a direct view of the characters, we opted for top shots or screen POV angles at the end of scenes where we wanted a closer perspective. While the camera movements are generally smooth throughout the film, in the scene where the character is between the bed and standing, we used a rock zoom to enhance the feeling of absurdity, transitioning to a simple wide shot.

Structurally, the films open with a preparatory scene set in a high-altitude location that evokes a sense of freedom. At the emotional climax, the character looks directly at the audience from inside the vehicle, breaking the fourth wall. At this moment, our actors deliver the film’s message and tagline.

PEUGEOT E-3008

POMUS