When one thinks of a Super Bowl commercial, loud, funny, and packed with celebrities comes to mind—a quick, flashy pitch to grab attention in under 30 seconds. But this year, a Turkish Airlines short film from both Hollywood director Ridley Scott and writer Olivia Milch stood out like a quiet masterpiece amid all the usual noise.
The short film, The Journey, is a sleek, elegant spy thriller set in Istanbul. The star of the short film is Sylvia Hoeks, who plays a traveler thrust into a high-stakes chase to track down a mysterious woman, played by Aure Atika. Hoeks’ character is adventurous and relatable—curious, capable, and refreshingly real. She’s not the archetypal, hyper-stylized spy but someone who feels grounded, even amid extraordinary circumstances. Meanwhile, Atika commands the screen with an enigmatic composure, her presence both elegant and powerful. Their dynamic—a mix of pursuit and connection—creates the heartbeat of this cinematic story.
I missed The Journey during the Super Bowl (the Super Bowl itself and football in general is not my cup of tea), but I stumbled across it on YouTube the next day.
From the first few seconds, I knew this wasn’t your typical ad. It drew me in with its quiet sophistication—something I rarely see but deeply appreciate. Istanbul’s beauty was breathtaking, of course, but it was Hoeks and Atika’s performances that held my attention. They didn’t clamor for the spotlight; they owned it effortlessly.
What stayed with me most was how these women were portrayed. They weren’t there to check a diversity box or prop up a male-driven plot. They were the story—complex, intentional, and alive with agency. Without heavy dialogue or overexplained motives, their actions and expressions told us everything we needed to know. It was a refreshingly subtle approach, free from the usual clichés. In a genre dominated by men—the womanizing spy, the rugged, hyper-masculine adventurer—it was striking to see a story handed to women and carried with such grace and strength. Even more impactful, The Journey didn’t try to pat itself on the back for this choice. It simply trusted the audience to recognize the brilliance of these characters.
In a genre so often dominated by men—the womanizing spy, the rugged, hyper masculine adventurer—it was striking to see a story handed to women and carried with such grace and strength. Even more impactful, The Journey didn’t try to pat itself on the back for this choice. It simply trusted the audience to recognize the brilliance of these characters.
And yet, it’s depressing how rare this advertising short film is, even now. It’s discouraging when brands claim to have evolved when it comes to gender equality but deceitfully relegate women to the sidelines or reduce them to tired stereotypes. The Journey felt like a quiet yet meaningful step forward. Here we have two women at the center of a narrative—not as afterthoughts but as the driving force.
Just the city of Istanbul alone added even more to this story. The city’s winding streets, ancient architecture, and vibrant culture gave the film an elegant hint of mystery and connection. Hoeks and Atika masterfully drove the narrative and action, keeping it focused and grounded.
What moved me most about The Journey was its quiet confidence. These women weren’t portrayed as extraordinary for simply being strong—they just were. That sense of purpose and authenticity felt long overdue, where progress can feel frustratingly slow.
The Journey not only thrilled me but made me hopeful. It’s proof that stories led by women can be rich, complex, and impactful without making a spectacle of the fact. It’s not about ticking boxes; it’s about telling stories that reflect the world as it should be—where all women lead powerfully and without apologies. And that’s a journey worth celebrating.
Scott Bryant 
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