At Nar Film, we have always believed the most powerful stories are born from places that remain invisible to the outside world. Since the company's foundation, we have focused on films that are deeply rooted in local cultures while speaking a universal cinematic language. Our productions have travelled to major international festivals, and through each project we have sought to build lasting creative partnerships across Europe.

The Valley is a natural continuation of this vision. Crime stories have become one of the strongest international television genres, yet many have begun to resemble one another. We are not interested in creating yet another procedural thriller. Instead, we want to ask a more disturbing question: What happens when an entire community becomes part of a crime – not because they committed it, but because they chose silence in the face of it?This question immediately connected us to the project. Set in Türkiye’s Eastern Black Sea mountains, The Valley uses the conventions of the serial-killer investigation to explore themes of inherited violence, collective guilt, masculinity, and memory. Here, nature is not a backdrop but a living force. Endless rain, dense forests, and persistent fog shape every decision the characters make. The landscape itself becomes an accomplice to fear. This atmosphere is something we know intimately. As Turkish producers, we rarely see the Black Sea represented beyond postcard imagery or nostalgic stories. Yet, it is a region filled with contradictions – where ancient beliefs co-exist with modern institutions, where migration has transformed generations, and where silence often survives longer than truth. These realities make the setting unique while they remain emotionally recognisable to audiences everywhere. Another reason we are drawn to the project is its international perspective. Through Devrim, a German-Turkish detective caught between two identities, the series explores migration, belonging, and cultural distance without reducing these themes to political discourse. Her journey mirrors a wider European experience: the search for identity between cultures and generations. We believe this gives The Valley the ability to travel beyond Türkiye while remaining completely authentic to its origins. As producers, we are interested in stories in which genre serves character rather than spectacle. Every murder in this series reveals another hidden layer of the community. The investigation gradually transforms into a psychological excavation of a society that has learned to survive by protecting its own myths instead of confronting its past. This is also why we see The Valley as an international co-production from its earliest stages. Its German-Turkish narrative naturally creates opportunities for European collaboration, while its visual identity and universal themes position it within the growing international demand for elevated psychological crime dramas. Our ambition is not simply to produce another successful crime series. We want to create a world that audiences can inhabit – one where every path that disappears into the fog hides another secret, and where the greatest mystery is not who the killer is, but why an entire community allowed the darkness to survive for so long. At Nar Film, we believe the strongest international projects remain faithful to their own geography while speaking to universal human emotions. The Valley is exactly that kind of project. We are looking for partners who share our commitment to bold, character-driven storytelling and who believe that the most compelling crime dramas reveal not only a killer’s identity but also the hidden fractures of the society that creates them.