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Yavuz Turgul defines himself as an easterner cinematographer. Despite that, Turgul's films are mostly subjected to sociological (“West centered”) readings. This paper transforms it's point of view in order to explore the cinema of Yavuz Turgul, and directs it's attention towards the East. Yavuz Turgul; despite that he is inclined towards perceiving the world as a single entity that contains opposites within, abruptly divides the world in two as the East and the West. Those who know represent the West and those who rely on intuition represent the East according to him. When interviews made with Yavuz Turgul are examined, it is understood that the director is in relation with an intangible mystical world that not the talker but “the seer” sees. Turgul mentions awareness, spontaneity, wisdom, shaman drum, Unity of the Body, Tao and Zen Buddhism in these interviews. He reminisces to Lao Tzu, Buddha, Hallac-ı Mansur, (bn’ül Arabi, (hvan-ı Safa, Yunus Emre and Sheikh Bedrettin whom he gathers Eastern idea. The focus of the paper is on Yavuz Turgul's particular comprehension of the East; articulations, directions and allusions of the director in an Eastern idea perspective are gathered and relations respective to his films are studied.