"Last Call for Istanbul" Soundtrack Lyrics

"Last Call for Istanbul (Original Film Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

Can a one-night detour carry a whole city’s music? This romantic drama folds New York neon and Turkish pop into a compact soundtrack: chart hits for momentum, library cues for glide, and local cuts for emotional specificity. The balance is deliberate—street-level bops when the leads chase impulse; intimate score when truths surface.

The original score by Sertaç Özgümüş arrives as a concise 16-track album (28 minutes). Around it, the film threads recognizable songs—Portugal. The Man’s “Feel It Still,” Karla Bonoff’s “All My Life”—and Turkish selections like Lalalar’s “Mecnun’dan Beter Haldeyim” and Kenan Doğulu’s “Yosun.” Release timing matters: the movie premiered worldwide on Netflix on November 24, 2023, while the score album landed December 8, 2023.

Questions & Answers

Who composed the score?

Sertaç Özgümüş composed the original score; his 16-track album is the official release.

Is there a various-artists (songs) album?

No official VA compilation; the film features licensed tracks alongside the score. Reliable rundowns list placements by timestamp.

When did the film and soundtrack release?

The film debuted on Netflix on November 24, 2023; the score album released December 8, 2023.

What are the most prominent needle-drops?

“Feel It Still” (Portugal. The Man) early on; Karla Bonoff’s “All My Life” as a rooftop sing-along; Lalalar’s “Mecnun’dan Beter Haldeyim” during a rupture; Kenan Doğulu’s “Yosun” at the airport reunion.

Does the movie use jazz/library cues too?

Yes—periodic library cuts (e.g., Dick Walter, Abaco) and a classic jazz standard credit (Sonny Rollins’ “St. Thomas”) appear in listings.

How different is the score’s tone from the songs?

The songs push motion and flirtation; the score is short-form, close-mic, and introspective—airport, hotel, and dawn-after textures.

Notes & Trivia

• The official score album runs 16 tracks, ~28 minutes—unusually lean for a feature, which keeps songs foregrounded.
• Timestamped scene listings confirm at least a dozen specific placements, including a mid-film club run and an airport reunion.
• Composer Sertaç Özgümüş previously scored Turkish originals such as The Gift (Atiye) and Hot Skull.
• The Netflix trailer uses library/trailer material; the film itself opens with a brief library cue before pivoting to pop.

Genres & Themes

Pop momentum: brisk, radio-friendly tracks (“Feel It Still”) signal spontaneity and speed—two people outrunning obligation.

Turkish alt/indie color: Lalalar and Kenan Doğulu set cultural ground under a New York surface—home tugging at desire.

Compact score vignettes: piano/synth miniatures track quiet beats—airport nerves, elevator breath, morning consequences.

Tracks & Scenes

“Get To It (a 60)” — Geoffrey Peter Gasconye
Scene: Opening titles over airport bustle; rhythmic library cue tees up chance and movement (non-diegetic). ~00:00.
Why it matters: A quick, commercial-style snap before the leads collide.

“Feel It Still” — Portugal. The Man
Scene: After baggage claim, the pair share a cab into Manhattan; the hook syncs with city blur (diegetic car/playback feel). ~00:06.
Why it matters: An instant flirtation accelerant; pop immediacy frames their first impulse.

“There’s a Move You Make” — Dick Walter
Scene: Hotel lobby dance as Rose spins a vinyl; the room loosens (diegetic, record player). ~00:11.
Why it matters: Old-school swing cues the film’s playful middle section.

“Big City” — Deniz Felder
Scene: Bar meet—Mehmet orders water as Serin reappears in a bold dress (diegetic bar source). ~00:18.
Why it matters: Title mirrors the night’s scale-up; the mix leaves space for glances.

“All My Life” — Karla Bonoff
Scene: On a rooftop, Serin sings to Mehmet—half-serious, half-dare (diegetic performance). ~00:28.
Why it matters: A classic soft-rock confession reframed as a risky serenade.

“Midnight Moon” — Abaco Music Library
Scene: On the bus downtown, lights smear into ambient glow (non-diegetic). ~00:29.
Why it matters: A breath between choices; library ambience resets the pace.

“Soy Suave” — Ty Frankel & Joshuah Hampton
Scene: Serin alone on the sidewalk; a stranger pushes party favors (diegetic street bleed). ~00:31.
Why it matters: Sleek confidence undercuts safety; the city tests her resolve.

“Don’t Wanna Be Lonely” — Dave Edward, Alex Henderson, Taylor
Scene: They wander the streets laughing, dress and white tee catching neon (non-diegetic). ~00:37.
Why it matters: Lyric syncs the subtext: temptation as antidote to emptiness.

“If You’re Not Here” — (Skye Thomas / Dvorsky / Howland / Ivy / Linasko Licks)
Scene: Pub interlude; she ducks to the restroom as nerves kick in (diegetic pub source). ~00:39.
Why it matters: Chatter dips, doubt creeps—song as ambient hesitation.

“Champagne Nights” — Christophe Descamps et al.
Scene: Post-contest clubbing; lights strobe, decisions blur (diegetic club). ~00:43.
Why it matters: A victory soundtrack that dares them to go further.

“Mecnun’dan Beter Haldeyim” — Lalalar
Scene: Hotel confrontation; words hit harder than planned (non-diegetic push). ~01:16.
Why it matters: Anatolian-psych pulse as rupture—desire meets consequence.

“Yosun” — Kenan Doğulu
Scene: Airport reconciliation; movement resumes, together (non-diegetic leading into credits). ~01:24.
Why it matters: Pop warmth for a landing that feels like takeoff.

Timing note: Timestamps reflect the standard Netflix cut; brief platform variances are possible.

Music–Story Links

“Feel It Still” announces the rules of the night: don’t overthink, just move. Bonoff’s “All My Life” flips that—desire voiced out loud, no cover. When Lalalar crash-lands the hotel fight, the score stops soothing; the city stops cooperating. “Yosun” restores forward motion, but with cost acknowledged. The score cues fill gaps the characters won’t: airport jitters, pre-call breaths, the quiet between sentences.

How It Was Made

Directed by Gönenç Uyanık from Nuran Evren Şit’s script, the feature was produced by OGM Pictures for Netflix. Composer Sertaç Özgümüş delivered the original score and a compact digital album; music department credits list him as the film’s composer. Song placements mix global pop, Turkish indie, library cuts, and a jazz standard credit.

Reception & Quotes

Coverage emphasized the film’s star pairing and the New York-by-night mood, with music singled out for keeping the pace brisk and the tone modern.

“A romantic Netflix feature directed by Gönenç Uyanık… starring Beren Saat and Kıvanç Tatlıtuğ.” Press capsule

“Özgümüş’s score sits close to the characters; the songs do the skylines.” Album/credits round-ups

Additional Info

• Official score album: 16 tracks; released December 8, 2023 (digital).
• Trailer music includes library/trailer cues; not part of the score album.
• Additional song credits listed without scene timing include “St. Thomas” (Sonny Rollins), “Thanks For Everything” (Dick Walter), among others.
• Runtime: 1h 31m; production: OGM Pictures; distribution: Netflix.
• Primary languages: Turkish and English; setting: New York City.

Technical Info

• Title: Last Call for Istanbul (Original Film Soundtrack)
• Year: 2023
• Type: Film soundtrack (original score; film also features licensed songs)
• Composer: Sertaç Özgümüş
• Key licensed tracks (in film): “Feel It Still” (Portugal. The Man); “All My Life” (Karla Bonoff); “Mecnun’dan Beter Haldeyim” (Lalalar); “Yosun” (Kenan Doğulu); plus library/jazz cues.
• Release context: Film on Netflix (Nov 24, 2023); score album digital release (Dec 8, 2023)
• Label/credit line: Digital self-release by the composer on major DSPs
• Availability: Streaming on Apple Music/Spotify/others (score); no official songs compilation

Canonical Entities & Relations

Sources: Netflix title/trailer pages; timestamped song rundown; Apple Music/Spotify listings for the score album; trade/credit summaries confirming the composer.

November, 12th 2025