Fatih Al (born 12 September 1976) was born in Ankara.
He graduated from Ankara University's School of Language and History - Geography with a degree in theatre studies.
Later, Al worked in city theater's and then acted in movies and television series.
He made his television debut in 2003 with a role in the series Sihirli Annem.
He subsequently appeared in the series Rüzgarli Bahçe in 2005.
In 2007, he was casr in the movie Hazan Mevsimi - Bir Panayir Hikâyesi as Cemal.
In 2010, Al returned to stage with a role in the play Korkuyu Beklerken.
In the following year he starred in the movie Bizim Büyük Caresizligimiz and went on stage again with the play Giderayak.
In the same year, he began portraying Matrakci Nasuh in the historical drama series Muhtesem Yüzyil, after which he rose to prominence.
In 2013, he starred in the movie Evdeki Yabancilar as Yasar.
In 2014, he appeared in the movie Daire as Feramus and starred in FOX's TV series Not Defteri as Mahir Soysal.
He is also known for his role in the Netflix original series Atiye.
Fatih and Kumru, a lawyer from different cities, team up for a case involving a cheating spouse. They spend 8 hours racing around Izmir gathering evidence, unexpectedly altering their plans and lives.
Adem Haberdar's life takes a completely different turn when he has to leave the police after failing an important operation. Pursuing the gang that caused him to quit his job, Adem has to take over a chicken restaurant in order to follow the gang.
Sinan is a blind poet. Although he lost his sight at the age of three, he is a person who is at peace with his blindness. Sinan's wife Nilgün wants to gift Sinan the world of vision and convinces him to have surgery. With the successful operation, Sinan begins to see vaguely, but after a while weird adaptation complications emerge. Nilgün believes that chaos is related to blind habits and increases pressure on Sinan to adapt to the world of vision. This tension moves towards a tragic showdown, where they question each other's personalities. Just in this process, the doctor explains that if there is no second surgery, Sinan will be blind as before.
Sparks fly when a humble housekeeper crosses paths with a wealthy surgeon, but a devastating truth puts their relationship to the test.
Ten years after being thrown out of her parental home, Nur hears that her mother is at death's door. Taking her young daughter with her, Nur hurries back to her father's world to see, and reconcile with her mother before it is too late. While the universal theme of mother-daughter relationships lies at the centre of the film, this is underpinned by an allusive subtext of incest, one of most common but least addressed social problems in Turkey. The individual stories of the family members combine with a sense of hope fuelled by tragedy to paint a portrait of the socially disconnected.
In the hard-boiled world, where will the soft-shelled end up? A cozy kind of extermination is on the stage and keeping a low profile. The decadence around us is nothing less than clandestine annihilation of the civil man. Yet it is carried out so well with a grinning face, it is officially sold as transition. Now that the tamed indulgent is striped off social justice, welfare, even denied the tender love of concentration camps and slavery plantations of past centuries. At least hand them a round of rope They have high expectations from taking things in their own hands. Circle is a peculiar story of an ordinary man caught between an untimely romance and a brave new hostile world.
Agapi, an old Greek woman, returns to Turkey with her granddaughter, Elpida, in hopes of buying back her childhood home, but the new owner, a young Turkish man, is adamantly against selling it. The three strangers begin to share the house trying to come to an agreement, but a friendship between Elpida and the new owner complicates matters.