Avesta - Beşên dawîn ji fîlma Fatih Akin.

Avesta - Jibo temaşekirina çar beşên berê “Bitikîne”.

Beşa pêncemîn:

* Lotte dabance dibîne lê misyona xwe temam nabe, zarokekî li kolanên Stenbolê çenta wê didize, Lotte dû wî dikeve û dibîne, nîzîkî wî dibe jibo dabance vegerînê, lê zarok bi fîşekek tenê dawî li hebûna wê anî.

* Kujtina Lotte Hikumeta Tirk dixe nav krîzeke Internasiyonal ligel Dewleta Alman, rayadarekî tirk ji Aytenê pirsdike ser serdana keça mirî jê wê re. Gava Ayten nûçeya kujtina Lotte, matmayî dimîne û nefesa xwe bi zorê dikşîne.

* Laşê Lotte bardikin ta Almanyayê, Elî jî ji Almanya tê qewtandin, Sussane jî tê Stenbolê.

* Sussane mey vedixwe û serxweş dibe, girî dike û dike, gelek pişmam bû ye. Telefon Nejad dike, li hotêlê li hev dicivin.

* Sussane : Te çawa zanî ku ez diya Lottê me ?

Nejat : Jiber tu mirovê herî xemgîn di vir de.

Li ser Lotte diaxifin û bi hevre diçin mal, Sussane di ûda keça xwe de dimînê û bi keserk mezin cilê wê hemêz dike û bîranîn wê dixwîne.

* Li ber ava bosforê (Stenbol) Elî pirtûka ku lawê wî diyarî wî kiribû dixwîne û digrî.

* Pismamê Nejat dibêje: Bavê te xwestibû te bidîta, balam min jê re got ku tu naxwazê wê bibînî. Piştre min bir Stasiyona otobusan ji bo ku here Trabzonê, Dixwaze li wir masiyan bigre.

* Sussane: binêr ev mal gelek xerab e ye. Qe kes haya xwe ji malê nake?

Nejat: Ne ji korrupsiyona (fesad) dewletê, ne ji mafia, û ne ji cihên dîrokî, haya xwe ji tiştekî nakin.

* Sussane diçe serdana Aytenê. Ayten (Bi êş û kul): Li min biborîne.

Sussane: ez dixwazim alîkariya te bikim.

Beşa şeşemîn:

* Sussane: Ev xelk bi ku ve diçe?

Nejat: Îro Cejna Qurbanê ye, hemû diçin mizgeftê.

Nejat ji Sussanê re çîroka Cejna Qurbanê qise dike, çîroka Pêximber Brahîm û qurbana berxê.

Nejat : Tê bîramin ku min carekê ji bavê xwe pirsî eger ew dikare min bike qurban.

Bavê min got ez ê xweda bi dijminê xwe bikim ta ku ez te biparêzim.

* Nejat bi maşîna xwe berê xwe dide Trabzonê .

* Ayten rizgar dibe û diçe cem Sussane û bi hevre diçin mala Nejat li Çukurçumayê.

* Mûzîka Trabzonê û xwezaya wê.., Nejat diçe ber derya reş û li benda vegera bavê xwe dimîne.....

Vidyo

Rating: 9.5/10

I had very high expectations for Fatih Akin's The Edge of Heaven before I watched it. The reason being that his previous film Head-On (Gegen Die Wand) [our review] was a thoroughly entertaining and intellectually engaging work. The Edge of Heaven is slower paced, equally edgier and ultimately a more satisfying work from Akin, which left me deeply moved by the end.

The film is divided into three sections. The first one tells the story of Ali (Tuncel Kurtiz), a Turkish immigrant living in Bremen, who asks a Turkish prostitute to move in with him. Yeter (Nursel Köse), the prostitute, who calls herself a woman of "easy virtues," agrees to do so because of threats from two Turkish fundamentalists who view her profession as unbecoming of her culture. She however develops an affinity towards Ali's son Nejat (Baki Davrak), who is a professor. The plot revolves around circumstances that lead to Yeter's death and Nejat's departure to Istanbul in search of her daughter Ayten.

The second story is of Ayten, who is part of an extremist group in Turkey, forced to flee her country to Bremen. There, she befriends Charlotte (Patrycia Ziolkowska), a student at a university where Ayten takes refuge in. Charlotte and Ayten fall in love. The rest is a heart-wrenching story of the inevitability of their love. Charlotte dies in Istanbul after she comes in search of Ayten, who was deported from Bremen. The final story is the resolution of the first two, wherein the characters find catharsis through each other.

Like Head-On, The Edge of Heaven discusses the issue related with the co-existence of people from different cultures, having differing ideologies. Starting from immigrant woe, idealism and loneliness, the transformations that each of the characters go through are wrought so intricately that the result is a very poignant and realistic portrayal of loss and redemption. I was intrigued by the performance of the actors, especially that of Hanna Schygulla, who plays Charlotte's disapproving mother Susanne, and Nurgül Yeşilçay, who plays the confused idealist Ayten.

Fatih Akin, takes a more challenging stylistic approach with this film. He does not force the three stories to fit, but lets them unfold with a steady pace. He doesn't impose himself on the characters or the plot. The result is a film that is both thematically and stylistically complex. And a very moving and accomplished work from a promising young director.

[Link to IMDB profile]

Eagle Eye (Olhos de Lince) e Savage Grace (Desejos Selvagens) são os principais destaques deste Por Estrear... , onde anunciamos ainda a estreia das comédias Mr. Woodcock (Um Padrasto para Esquecer!) e The House Bunny (A Casa das Coelhinhas), dos europeus Auf der Anderen Seite (Do Outro Lado) e Les Femmes de L'Ombre (Mulheres de Guerra) e do português Mal Nascida.

Olhos de Lince (Eagle Eye, no original)

Em Eagle Eye Shia LaBeouf (Indiana Jones e o Reino da Caveira de Cristal; Transformers) interpreta Jerry, um jovem rapaz, muito preguiçoso e descontraído, cujo irmão gémeo, com uma personalidade completamente oposta a si,  sofreu uma misteriosa morte. Quando regressa a casa, ele vê-se envolvido numa conspiração que o tenta fazer passar por terrorista. A ele, e a Rachel, uma mãe solteira (Michelle Monaghan; Kiss Kiss, Bang Bang) cujo filho (Cameron Boyce; Mirrors - Espelhos) foi raptado para que ela cumpra os objectivos de quem o raptou. Os dois são forçados a trabalhar em conjunto para conseguirem ilibar-se, sobreviver e salvar o filho de Rachel.

Rosario Dawson (Sin City), Michael Chiklis (The Shield - O Protector) e Billy Bob Thornton (Depois do Ódio) completam o elenco principal.

género: Thriller

realizado por: D.J. Caruso

escrito por: John Glenn, Travis Wright, Hillary Seitz e Dan McDermott

produzido por: Steven Spielberg

com Shia LaBeouf, Michelle Monaghan, Rosario Dawson, Michael Chiklis, Jerry Ferrara (Entourage - A Vedeta), Ethan Embry, William Sadler, Madylin Sweeten, Anthony Azizi, Eric Christian Olsen e Billy Bob Thornton

trailer:

Julianne Moore regressa ao grande ecrã com uma história baseada em factos reais, num drama sobre a família, o incesto e a homossexualidade…

A história de Savage Grace tem início na década de 50, em Londres. Barbara Daly Baekeland (Julianne Moore) é uma mulher bonita e carismática. Mas isso não é suficiente para apagar o abismo de classes existente entre ela e seu marido, Brooks (Stephen Dillane), o herdeiro da fábrica de plásticos Bakelite.

Quando Tony (Eddie Redmayne), o único filho do casal, nasce, essa delicada relação desaba. Tony é visto pelo pai como um fracassado e, conforme amadurece, aproxima-se da solitária mãe… O que trará consequências devastadoras para toda a família.

Savage Grace tem tudo para se tornar um filme de extremos já que conta com Tom Kalin na realização. Kalin deu-se a conhecer ao mundo no Festival de Sundance com Swoon e tem dedicado grande parte  da sua carreira a realizar curtas metragens sobre a SIDA. A questão da homossexualidade é um factor constante na sua obra e Savage Grace não é excepção.

Savage Grace é baseado no livro de Natalie Robins e Steven Aronson publicado pela primeira vez em 1985.

género: Drama

trailer:

escrito por Nuno Santos

Quando Shelly (Anna Faris; Scary Movie), uma coelhinha da Playboy é expulsa da mansão, ela vê-se forçada a mudar-se para a irmandade das Zeta Alpha Zeta. As sete raparigas da irmandade Zeta Alpha Zeta, todas elas socialmente inadaptadas, estão prestes a perder a sua casa. Elas precisam de uma dose do que a espontânea Shelley melhor sabe fazer: divertir-se. Pelo caminho elas irão aprender que na vida, não devemos ceder à pressão dos outros para enquadrar e ser nós próprios.

género: Comédia

realizado por: Fred Wolf

escrito por: Karen McCullah Lutz e Kirsten Smith

produzido por: Anna Faris, Karen McCullah Lutz, Kirsten Smith e Adam Sandler

com Anna Faris, Emma Stone (Super Baldas), Kat Dennings (Virgem aos 40), Colin Hanks (King Kong), Monet Mazur (40 Dias e 40 Noites), Beverly D'Angelo (América Proibida), Katharine McPhee, Rumer Willis, Rumer Willis e Hugh Hefner

trailer:

John Farley (Seann William Scott; trilogia American Pie), um escritor de livros de auto-ajuda que ao regressar à sua terra natal para visitar a sua mãe (Susan Sarandon; Thelma & Louise) descobre que ela apaixonou-se pelo seu antigo nemesis, o Sr. Woodcock (Billy Bob Thornton; Depois do Ódio), um bruto e cruel professor de educação física que durante anos o humilhou. Determinado a evitar que o passado volte a repetir-se, John determina-se a impedir que a sua mãe case com o homem que fez da sua vida um Inferno. Amy Poehler (Saturday Night Live; Glória dos Campeões) e Ethan Suplee (O Meu Nome é Earl) completam o elenco principal.

género: Comédia

trailer:

Mal Nascida

Lúcia (Anabela Moreira) é uma mal nascida, uma mal amada é a eterna viúva do seu pai.

Um grito antes de ser um corpo, enlouquecida, maltratada e humilhada, sobrevive enlutada com a lembrança do crime e da traição da mãe, grita a sua dor inconsolável para não dar descanso nem paz aos assassinos do pai.

Vive na esperança desesperada do regresso do irmão para cumprir a promessa de vingar o sangue do pai.

Márcia Breia, Fernando Luís, Tiago Rodrigues e Gonçalo Waddington também participam.

género: Drama

realizado por João Canijo

Sinopse: Clap Filmes

Apesar das reticências do filho Nejat (Baki Davrak), Ali (Tuncel Kurtiz), viúvo, decide viver com Yeter (Nursel Köse), uma prostituta de origem turca. Mas Nejat, professor de alemão, acaba por começar a afeiçoar-se a Yeter quando descobre que ela manda dinheiro para a Turquia, para ajudar a pagar os estudos universitários da filha. A morte acidental de Yeter afastará pai e filho e Nejat decide viajar para Istambul para tentar encontrar a filha dela, Ayten. (Nurgül Yesilçay) Activista política, Ayten fugiu da polícia turca e já se encontra na Alemanha, onde se torna amiga de Lotte (Patrycia Ziolkowska). Mas o pedido de asilo de Ayten é negado e ela é deportada e enclausurada na Turquia. Num acto irreflectido, Lotte decide partir para a Turquia para ajudar a amiga.

género: Drama

realizado por: Fatih Akin

Sinopse: Cine Cartaz Público

trailer:

França, 1944, II Guerra Mundial. Próxima da Resistência, Louise (Sophie Marceau) embarca para Londres depois do assassinato do marido. É então recrutada por uma agência de informação secreta criada por Churchill, cujo objectivo é sabotar as acções do Exército nazi. A sua primeira missão é resgatar um agente britânico detido pelo inimigo. Louise contará com o apoio de outras quatro mulheres, escolhidas especificamente para esta missão. Dependendo apenas da sua sorte, coragem e determinação, as mulheres enfrentam o seu próprio destino...

género: Drama/ Histórico

realizado por: Jean-Paul Salomé

Sinopse: Cine Cartaz Público

trailer:

Rating: 8.5/10

Alexander McKendrick once said that cinema is popular art, not fine art. Though the idealist cinephile in me does not agree to that view, I have to reluctantly subscribe to it because of the rest of me. And thus, a film that walks the fine line between popular and fine art, appealing to the intellectual and the ADHD suffering side of me, has got to be perfect. And that's just what Head-On is.

The film opens on the banks of the Bosporus in Istanbul with the Hagia Sophia visible in the background prominently. A group of Turkish singers start singing folk songs. Cahit Tomruk (Birol Unel) is a self-destructive alcoholic, addicted to every other vice as well, mourning the loss of his dead wife. He works at a club as a bottle collector. One night, after drinking too much as usual, he drives his car into a wall at top speed. This scene, perhaps the most brutally shocking display of a suicide attempt on film, is built up with Depeche Mode's addictive 'I Feel You.' It's right here, at the onset of the narrative that the film grabbed me. And it didn't let me go till its tragic/melancholic conclusion.

He survives the crash and is admitted to a psychiatric clinic. He meets Sibel Guner (Sibel Kekilli), another survivor of a suicide attempt at the clinic. She asks him to marry her. She comes from a Turkish immigrant family who are quite orthodox and highly conservative. And this is the only way, by feigning marriage to a man of Turkish descent, that she can escape from their over-protective clutches and live a life she'd always wanted - one of promiscuity and independence. They marry and she spends their first night with another man. As agreed they share Cahit's flat, putting up a facade of marital bliss, while both of them engage in their independent fantasies with others.

This arrangement doesn't last long, he falls in love with her, and slowly she with him. But before they are able to admit it to each other, Cahit makes a fatal mistake. It is the consequence of this event that moves the narrative to the second act. And though the catharsis at the end is tragic, it is also strangely uplifting.

Head-On is an emotionally and intellectually engaging film that discusses self-destruction, struggle with addictions, immigrant pathos, the despair of guilt, the agony of memory, the inevitability and fragility of love. Amidst the chaotic vane life of the characters, there is the simplistic and nostalgic pull of their homeland. And the conflicts are not just personal, but cultural and universal. It is melodramatic, but rooted in arresting reality.

As Cahit and Sibel, Unel and Kekilli are unashamed of their portrayal, and they perform here without a sense of self-preservation. It is riveting to see these brilliant actors making you hate them and love them.

The film draws much of it's effect from a very impressive soundtrack. It's a sound palette of contrasts, from Turkish folk songs to Electronica and Punk. The cinematography is hurried and vibrant. The camera feels alive and yet passive. The editing is fast paced with some very effective and energetic nuances. Technically this film is flawless. And it is directed with passion and authority.

As an opinionated critic, I am often left unsatisfied by films because they are either too artsy or too pop (and then there are a large number of films that don't fall in either category, but in a third one - crud). But this was a film that pleased every bit of me. This is fine art. This is popular art. And it's a ball-gripping art at that.

[Link to IMDB profile]

Die junge Deutschtürkin Sibel (Sibel Kekilli) geht mit dem alkoholkranken Cahit (Birol Ünel) eine Scheinehe ein, um den traditionellen Moralvorstellungen ihrer Eltern zu entkommen. Was als Zweckgemeinschaft beginnt, endet in einer verstörten Liebesgeschichte, deren Protagonisten ein verzweifelter Lebenshunger antreibt. Der Film wurde 2004 mit dem Goldenen Bären der Berlinale ausgezeichnet.

“The Edge of Heaven,” by one of my favourite filmmakers Fatih Akin whose “Head-On” is a complete knock-out of a film, is a masterful example of potency that culminates when life’s intricacies are placed under a microscope to expose the most human of interactions – unplanned and as easily destroyed as they are created. Intersecting storylines and surprising occurrences of character relations are tools that have been implemented often over the past few years, but hardly to the effect that can be witnessed in Akin’s latest effort of staggering delicacy and haunting fragility despite its deliberate ferocity.

Gently focusing on six principle characters in Turkey and Germany, all orchestrated to crisscross through each others lives, Akin hints at the preordained faux-randomness of life but also at the raw power of the bonds that form when one least expects it. It has nothing do with the setting, race or gender, but fate and the choices we make in life because humans are not always separate entities – we are one, brought together, and just as quickly, forced apart, by magnetism and anti-magnetism well in play.

Akin tells his story in three distinctive parts, not entirely disconnected from one another. They flow, linking character streams to form one fluid surge of narrative intensity. As intense as it all is, it is a very real film, focusing on the everyday aspect of connectivity rather than outlandish arcs. Even when the connections feel all to coincidental and aren’t always followed through, it is because Akin’s focus is very much on the here and now and less on the past and the future.

Without any reasonable explanation or reason for how or why the story unfolds the way it does, one tends to think it too coerced at first. However, Akin doesn’t make it too hard to take seriously for the sake of seeming poetic, like Kieslowski for example, because such instances can and do occur, without explanation and against all logic, in the real world everyday. Akin is honest and upfront about key events through title cards that some might call spoilers and this eliminates any suspense but adds a certain amount of comfort to the viewing experience. That is not to say that the expectation dampens the potency of such events because one thing "The Edge of Heaven" is not is predictable.

Something that would take away from the story would be to go into too much detail about how each piece of the puzzle fits together. Laden with fine-tuned complexity, we are introduced to each character not knowing exactly how large a role the play in the story but Akin has a strong compassion for his characters and that gives viewers the opportunity to sympathize with them straight away.

First, we meet an aged Turkish man living in Germany called Ali (Tuncel Kurtiz), whose son Nejat (Baki Devrak) is a professor at a German university. Ali, being as lonesome as he is, requests a Turkish prostitute Yeter (Nursel Kose) to act as his girlfriend, living with him and he would pay her for her services. She agrees even though Nejat, something of a joint that holds the entire story in place, doesn’t approve one bit. When Yeter dies and we know she will as it is laid out in one of Akin’s title cards, Nejat makes his way to Turkey in order to find her estranged fugitive daughter Ayten (Nurgul Yesilcay).

However, Ayten is living illegally in Germany already with a girl she meets, Charlotte (Patrycia Ziolkowska), as she is seeking asylum for her radical political past that would see her jailed in Turkey. Ayten is denied asylum, deported back to Turkey, and Charlotte is so enchanted by Ayten’s freewheeling nature that she follows. This, in turn, causes Charlotte’s mother to follow her daughter to reconcile with her as her blatant disregard for her daughter’s interests tears them apart. That’s the story in a nutshell, unembellished and fairly uninteresting in description – the beauty is in watching the gracious tragedies unfold.

Akin won the prize for Best Screenplay at Cannes for his efforts, and it is easy to see why. He crafts a nuanced story that spans over two countries, posing some serious questions about the effects of multiculturalism, but nonetheless tells it with an indefinable intimacy brought to life by truly affecting but understated performances. The character driven plot is not continuously executed in an unflawed way; it stumbles and stalls from time to time, but it works more often than it does not.

The ever insightful Akin casts his net far and wide, scoping a terrain fit for serious contemplations as it shifts, changes, lingers; recognizable yet entirely new, and in doing so, “The Edge of Heaven” proves to be a statement that pivots on the fact that we are all connected, and the sooner we acknowledge that, the violence and hatred can end. It’s a film that treads familiar thematic waters, but it dives deep into a particular point or realm in life where people have to travel to and live in that enables us to figure out who we are and where we plan to go from there and that makes the film an entirely original picture.

With that statement at hand, Akin packs each frame and glistening moment of revelation with a humane pulsation so unique but so true to real life. His characters are in a place that is not quite heaven, but are always a step away from achieving everything that it means to be at peace even if they never reach it, and if we can somehow learn from them to not take our relationships for granted, at the very least, that makes “The Edge of Heaven” something of a must-see.

Fatac Rating: ***½

The Edge of Heaven (Auf Der Anderen Seite). Written and Directed by Fatih Akin. Cinematography by Rainer Klausmann. Editing by Andrew Bird. Music by Shantel. Starring: Baki Davrak, Nursel Kose, Hanna Schygulla, Tuncel Kurtiz, Nurgul Yesilcay and Patrycia Ziolkowska. Running Time: 122 minutes. Age Restriction: Not Rated. Year: 2008. In English, German and Turkish w/subtitles. Rating: 3.5 out of 5 stars. [B]

De data asta am dat de un film mai putin turbat, si mai mult asezat. La fel ca in precedentul film, actiunea se leaga de Germania (Bremen si Hamburg), insa finalul tot in Turcia are loc. Avem asadar tema reintoarcerii acasa a turco-germanilor. Mai mult, acum avem implicati chiar si germani. Mama lui Lotte are revelatia pildei lui Ibrahim, aproape identica cu cea a lui Avraam/Abraham, realizand ca diferentele sunt mai mici decat credea ea.
Pana la un moment dat, filmul are un fir epic dublu. Intai ne este prezentata povestea profesorului universitar de germanistica, german de a doua generatie. Tatal acestuia se ataseaza la batranete de o prostituata tot originara din Turcia, propunandu-i o relatie stimulata banesc. Batranul nostru este extrem de gelos si o cam ia pe "raki" (presupun ca e un fel de rachiu, desi de multe ori "moravurile" turcilor in tarile vestice vs purismul - fara alcool si porc - din tara de origine m-au cam deconcertat in timpul vizionarii). Femeia este sincera cu profesorul, ii spune ca are o fiica de 27 ani, si ea stie ca lucreaza la o fabrica de incaltaminte. Ii mai spune ca ea de fapt "iese la produs" mai mult ca sa-i poata asigura scoala fiicei sale, si, astfel, un viitor.
Lucrurile se termina prost, intrucat, la un moment dat, batranul, beat, o imbranceste pe femeie, iar aceasta cade, lovindu-se la cap de un colt de metal si moare. Prima moarte, abia plauzibila. Il vedem pe barbatul batran intrand in inchisoare (iar mai tarziu intrand in Turcia, expulzat fiind din Germania). Fiul sau se muta in Istanbul, unde spera sa gaseasca fiica femeii decedate careia vrea sa-i sponsorizeze studiile. Cumpara o librarie turco-germana si incepe o noua viata acolo. Contactand rudele acesteia, obtine o fotografie a femeii, careia ii face copii pe afise, afise pe care le posteaza prin oras. Nu o gaseste, iar atunci cand merge la autoritati sa ceara informatii, functionarul da de ea in baza de date, si il trimite la superior, care-i sugereaza sa gaseasca pe altcineva caruia sa-i sponsorizeze studiile, se pare din motive politice.

Al doilea fir epic incepe in Turcia, unde o vedem pe fiica femeii decedate, Yetel, incercand sa scape dupa participarea la o manifestare publica de protest (nu mai tin minte ce se intampla in Turcia, atata ca se leaga de numele lui Ocalan, si ca celelalte fete sunt capturate de politie, iar trecatorii aplauda si felicita politia pentru captura). Scapa, insa din neatentie pierde telefonul mobil, si astfel da de gol pe celelalte participante, care sunt prinse. Ajunge pe un acoperis de cladire, unde ascunde pistolul. Isi procura acte false cu care zboara in Germania. Acolo nu are bani, si nu risca sa se prezinte autoritatilor drept refugiat politic, intrucat se teme ca i-ar putea fi respinsa cererea de azil. Mananca in campus, doarme in sala de curs unde preda profesorul din primul fir epic, Nejat Aksu (scenele astea de contact aduc a Trois Couleurs ale lui Kieslowski). Se imprieteneste cu Lotte, care o ia acasa, si dupa un timp, o poveste de dragoste se infiripa intre Yetel si Lotte. Mama Lottei nu este chiar incantata, asa ca uneori iese cu scantei. Rolul mamei Lottei este jucat de Hanna Schygulla, iata, dupa treizeci de ani de cand a fost starul lui Fassbinder. Ea nu intelege ce se intampla cu Turcia, si-ii spune fetei ca oricum toate problemele vor fi rezolvate in momentul in care Turcia va intra in UE (dupa care urmeaza reactia organica "Fuck the European Union!", la care mama Lottei reactioneaza calm, insa ferm - tu la mine in casa sa nu mai injuri).
Din pacate, la un moment dat masina fetelor este oprita la un control de rutina, iar Yetel fuge, stiind ca nu are acte. Este prinsa, si ajunge intr-un adapost pentru imigranti, de fapt locul nu arata rau, insa ce este mai rau este ca dupa un an de zile, autoritatile ii refuza viza de azilant. Motivul oficial este ca, fiindca Turcia a aplicat pentru aderarea la UE, este putin probabil ca ea sa se confrunte cu pericole majore odata intoarsa in Turcia. Totusi, odata deportata, ea ajunge in inchisoare, si asteapta un proces care s-ar putea termina cu o condamnare de douazeci de ani de inchisoare.
Lotte o urmeaza le Yetel in Istanbul, si ajunge sa locuiasca in chirie la Nejat. O viziteaza pe Yetel la inchisoare, si aceasta ii spune cum sa dea de arma. Lotte ia pistolul, il pune in poseta, insa pe o strada mai dubioasa, niste copii ii fura poseta si fug cu ea. Totusi, Lotte le da de urma pe cand acestia isi imparteau prada, insa unul dintre ei, ca intr-o joaca, ocheste si trage in ea.
A doua moarte aiurea, si, pe cand la moartea prostituatei, am avut un sicriu mergand cu avionul pe directia Germania-Turcia, acum avem unul mergand dinspre Turcia inspre Germania.

Abia acum vedem titlul filmului. De cealalta parte: doua lumi diferite, atat politic, cat si ca obiceiuri si cultura. Care vor converge in virtual, dincolo de genericul de final al filmului.

Mama Lottei si tatal lui Nejat (pe care acesta il reneaga ca tata, pentru ca a comis o crima) pleaca, fara sa stie, in acelasi timp, catre Istanbul. Il cunoaste pe Nejat si se muta in fosta camera a fiicei sale. Merge la inchisoare la Yetel pe care vrea s-o scape de inchisoare - dorinta fiicei ele - , care isi cere iertare pentru fapta sa (intre timp a aflat ca Lotte a fost impuscata cu acel pistol pe care ea il ascunsese). Dupa ce Yetel este eliberata, ele vor merge spre locuinta lui Nejat, care este plecat sa-si vada tatal.
Avem, iata, scene ale iertarii si reconcilierii intre Est si Vest, care in mare parte ne scapa, pentru ca regizorul le plaseaza in timp dincolo de genericul de final. Negresit, aceasta solutie artistica are darul de a stimula spectatorul de a-si proiecta propria versiune a impacarii dintre protagonisti. Iata, un film neosificat, cu atatea finaluri cati spectatori va avea. Intrevad un efect benefic al filmului asupra turcilor suparati pe germani, rad si asupra nemtilor rasisti anti-turci.
Si, daca e pana acolo, povestea este si mai generala, nu doar turco-germana. Este povestea intalnirii a oricaror doua lumi, si a sperantei intelegerii adevarate intre ele, bazate pe elementele care le unesc, asa cum pilda lui Ibrahim/Abraham este comuna celor doua culturi.

Note de subsol:
1. Destul de cinica viziunea vesnicei aspiratii a Turciei care mai binele reprezentat de UE. Recunosc aici destule din trairile mele anterioare aderarii Romaniei la UE, pe care am sarbatorit-o, surpriza, in Hamburg (ca la momentul respectiv eram deja rezident american, asta este o cu totul alta poveste). Revad lumea corupta, mai ales moral, care ar vrea o viata mai buna, insa fara sa renunte la privilegii.
2. Scenele din Turcia au un pitoresc aparte. Casele vechi (de ce nu sunt ele oare intretinute?), muntii, Bosforul, pana si benzinaria prapadita de la inceput, care revine in final, toate ma fac sa invinetesc de ciuda ;) Chiar muzica apartine interpretului care intr-adevar murise de cancer cu cativa ani in urma. De fapt Fatih Akin a realizat si un film despre muzica jazz turceasca, poate il voi gasi si pe acesta pe undeva, are Meredith ce are cu muzica orientala...
3. Suspectez un fel de "transfer al generatiilor" intre Hanna Schygulla, care aici joaca rolul mamei lui Lotte, insa in Berlin Alexanderplatz-ul lui Fassbinder joaca rolul uneia dintre prostituate (rolul celeilalte fiind jucat de Barbara Sukowa, poate ati vazut-o in Lars von Trier's Europa) din anii republicii de la Weimar, pe cand prostitutia parea a fi un lucru destul de normal, data fiind rata somajului in acea perioada, catre femeile care vin din est. Aici vedem o turcoaica, insa stim cu totii povesti despre est-europence.

Vorba unuia: rapandule de-astea vrea Basescu sa-si aduca inapoi in tara in al doilea mandat? Pai da, daca nu ai vazut civilizatie, nu ai cum sa o produci, as spune eu. Chiar daca stateai in noroi pe cand vedeai civilizatia.
Mda, se apropie iarasi alegerile, si mai bine tac o vreme.

"Ey Digger" kannte ich bislang nur von Prolls, gerne aus dem Hamburger Umland. Unlängst war ich gar Zeuge, als des Nachts auf der Simon-Utrecht-Straße folgendes zwischen einem PKW und dem benachbarten Taxi besprochen wurde "Ey Digger, seit ich saufe, nehm ich mir immer 'n Taxi". Auch mehr, als man jemals aus dem Leben der Betreffenden wissen wollte.

Aber das Herr Akin solche Worte verwendt: :eek:

Интересные факты:

• «Нью-Йорк, я люблю тебя» - режиссерский дебют голливудских актрис Скарлетт Йоханссон и Натали Портман. Портман выступила так же в качестве сценариста, а ещё сыграла в одном из мини-фильмов.
• Из предыдущей картины, «Париж, я люблю тебя», в «Нью-Йорк, я люблю тебя» «перекочевали» только Натали Портман и Эмили Охана, из режиссеров этого не сделал никто.
• Продюсеры поставили режиссёрам ряд условий: - бюджет каждой из новелл ограничен цифрой в 150 000 долларов США. - В массовых сценах должно быть задействовано не более 20 актёров, а плёнки должно быть израсходовано строго определённое количество. Режиссёру дают возможность самостоятельно подобрать звукорежиссёра, оператора и монтажёра; остальных участников съёмок назначат сами продюсеры.

noile orizonturi ale imigrantului contemporan...

"Auf der anderen Seite"

actor, regizor, scenarist, producator si indeosebi autor de film, fatih akin, la cei 35  de ani ai sai este deja unul dintre desenele reusite din covorul  multicultural artistic german.

mai in gluma (“Kebab Connection”, 2004; “Im Juli”, 2000), mai in serios (“Gegen die Wand”, 2004; “Auf der anderen Seite”, 2007), dar intotdeauna etnic, fatih akin are o viziune clara care-l plaseaza pe imigrantul de tip nou (nascut, crescut in patria de adoptie) intr-un pattern “de succes”, in opozitie cu pattern-ul conflictual al generatiei anterioare.

tanarul (super)erou etnic (sa-l numim asa) mosteneste si el un conflict, pe care insa, de-a lungul unor peripetii care-l formeaza ca om si cetatean (sic!) reuseste sa transgreseze pozitia ingrata, pasiva a generatiei ’50 – ’60, printr-un elan individual. reusita personala este de fapt cheia succesului etnic. reusita personala inseamna actiune in contraponderea pasivitatii. inseamna fler contra blazare. supereroul etnic realizeaza ca este cetatean de drept al patriei adoptive a parintilor sai. el se misca cu usurinta in “lumea noua”, vorbeste perfect limba si in general are acces la psihologia colectiva a celor doua patrii deopotriva. acest castig il valorizeaza ca individ si-l imbogateste ca cetatean. supereroul etnic este constient ca are o mostenire culturala superioara cetatenilor “standard”, de aceea incearca adancirea orizontului patern. reintoarcerea la radacini nu este insa retrograda, ci inovatoare, caci din ea se creeaza aliajul rezistent la intemperii psihologice.

...si supereroina berbera...

tema dezradacinarii apare mai acut la tunisianul abdel kechiche, iubit (sic!) de criticii francezi (care i-au si dedicat un numar din Cahiers du Cinema in 2007).

kechiche, departe de a fi enfant terrible, mai in varsta (aproape 50) si fiind prima generatie “deportata” (cultural) nu se lauda cu o filmografie stufoasa (doar 3 filme), insa este interesant de mentionat ca ultimul sau film, “La graine et le mulet” (2007) creeaza o noua premisa in abordarea lumii ca imigrant – aceea a reusitei personale.

motorul filmului nu e batranul obosit, marcat de schimbari, care se hotaraste, in al noualea ceas, sa preia conducerea propriei sale vieti, ci tanara rym, proaspata si indolenta ca orice adolescent de varsta ei, care-si porneste motorul personal pentru a salva o intreaga familie si cu ea perceptia unei generatii. ea lupta pentru a dovedi ca se poate. si stie ca mostenirea culturala trebuie folosita in scopul diferentierii pozitive, si nu al discriminarii. ea anunta o noua generatie de supereroi etnici, mult mai timid afisati in amabil -defetista franta decat in germania conflictului brut. sa fie oare de vina educatia oferita in stadiu incipient de fassbinder in anii 70 (amintesc un “Katzelmacher”,1969) si un “Angst essen Seele auf “, 1974). probabil. un alt factor ar fi ca germania gazduieste (nu pot spune altfel) cel mai cosmopolit oras european – berlinul. pe cand franta afiseaza doar un paris centrifug, in care suburbiile o iau la vale si parca nu exista nici o forta care sa se opuna.

in concluzie, cinematograful european contemporan dezvolta, in contra dezastrelor sociale asumate de ultimele victime ale xenofobiei si rasismului de secol 21, un prototip de personaj, un supererou care reuseste.

inseamna asta oare inceputul unei noi mitologii (ca proiectare a nevoii de dreptate sociala) sau intr-adevar, supereroul etnic exista, si se va multiplica renascand din cenusa revoltelor de strada?

Que liiiiindo que es el amor, ¿no? Pues sí, es lindo y rentable, ya que tras el éxito de Paris, je t'aime, esa película que contaba bonitas historias de amor en la Ciudad Luz, un grupo de productores y otro tanto de importantes actores del estrallato hollywoodense, decidieron filmar su secuela, titulada New York, I Love You, a estrenarse el 19 de Febrero de 2009 (que les costaba estrenarla el 14 de Febrero me pregunto yo). No contentos con eso, se habla ahora de una saga de las "Cities of Love", iniciada por Paris, continuada ahora con Nueva York y seguida por al menos otras dos cintas, una de ellas ambientada en América de Abajo y otra en África. ¿Se imaginan un "Santiago, Te Amo"?  ¡Yo tampoco! Pero bien podría ser Valparaíso, aunque seguramente será Buenos Aires o Río de Janeiro. Para ver el trailer y la larguíiiiisima lista de actores y directores, pégate el salto a continuación.

TRAILER: NEW YORK, I LOVE YOU

Los actores de esta megaproducción cupidística son Shia LaBeouf, Natalie Portman, James Caan, Christina Ricci, Orlando Bloom, Hayden Christensen, Cloris Leachman, Blake Lively, Anton Yelchin, Rachel 'Exquisita' Bilson, Kevin Bacon, Maggie Q, Olivia Thirlby, Bradley Cooper, Chris Cooper, Justin Bartha, Julie Christie, Burt Young, Goran Visnjic, Eli Wallach, Qi Shu, Drea de Matteo, entre muchos, muchos otros. En la dirección están Yvan Attal, Allen Hughes, Shunji Iwai, Wen Jiang, Scarlett Johansson, Joshua Marston, Natalie Portman, Brett Ratner, Andrei Zvyagintsev, Fatih Akin, Randall Balsmeyer, Shekhar Kapur y Mira Nair.

Dacă nu poţi schimba lumea, schimbă lumea ta! Îndemnul doctorului nu tocmai întreg la minte, aşa cum îl numeşte Cahit, personajul principal din Gegen die Wand, este privit cu indiferenţă după o semi-tentativă de sinucidere.

După moartea soţiei, zilele lui erau negre, lipsite de sens. Strângea paharele într-un club de rock din Hamburg. Într-o seară, sub influenţa alcoolului şi a cocainei, intră cu maşina într-un zid. Supravieţuieşte, parcă şi mai supărat, dar cu o fărâmă de speranţă pentru a trăi cumva.

Aşa o cunoaşte pe Sibel, o turcoaică ce încercase şi ea să se sinucidă pentru a evada din familia cicălitoare ce nu o lăsa să-şi trăiască viaţa după bunul plac. Ea îl cere în căsătorie tocmai pentru că era turc la origine şi numai aşa ar fi putut să scape de presiunile părinţilor săi tradiţionalişti. Bineînţeles, era doar un pretext, o aruncare cu capul înainte.

De aici încep toate încurcăturile. Fiecare-şi trăieşte viaţa ca şi cum nu ar fi împreună deşi, încep să se îndrăgostească reciproc. Cahit ajunge în închisoare în urma unei provocări, exact când cei doi şi-au dat seama că se iubesc. Sibel i-a promis că o să-l aştepte! Am crezut-o, părea credibilă! A crezut-o şi el, motiv care l-a ţinut viu, conectat la o relaţie tangibilă ce-i promitea salvarea.

Pentru Sibel începe însă declinul. Aşteptarea seamănă oarecum cu zilele pe care le trăia Cahit când şi-a pierdut soţia, mai ales că pe fundal apare iar I feel you al lui Depeche Mode. Un amestec între iubire, neputinţă şi disperare o face să clacheze.

Între timp, Cahit iese din închisoare şi merge după Sibel la Istanbul, la verişoara acesteia, unde ştia că locuieşte. Dialogul dintre cei doi este impresionant, deşi află că duce o nouă viaţă, încearcă să-i spună Selmei cum a rezistat până atunci:

Când am întâlnit-o pe Sibel pentru prima dată, eram mort. Eram mort cu mult înainte s-o întâlnesc. M-am pierdut cu mult timp înainte. Apoi a apărut ea în viaţa mea, mi-a dat dragoste şi mi-a dat putere.

Finalul are legătură abia acum cu versurile din deschiderea filmului, aparent nesemnificative:

Mă duc să mă plimb de-a lungul pârâului,
privesc peştii în apa mohorâtă,
sunt trist din cauza ta,
sunt trist pentru că nu mai văd iubire în ochii tăi.

I-a ajuns dragostea pe care a apucat să o simtă pentru a trăi mai departe? Îl mai iubea Sibel sau totul s-a consumat undeva la graniţa dintre responsabilitate şi resemnare? Sunt câteva dintre întrebările cu care am rămas după ce am privit filmul.

Temele pe care le atinge tânărul regizor, Fatih Akin, scot în evidenţă nu numai conflictele interioare ale germanilor de origine turcă dar şi felul în care se raportează la o realitate vie, mereu în schimbare, atât din punct de vedere al culturii cât şi al personalităţii fiecăruia.

Cu toate acestea, ce este dragostea dacă nu o încercare permanentă de a fi fericit?

after laughter comes tears
after your laughter there will be tears

when you’re in love, you’re happy
when you're in a arm, you gaze
this doesn’t last always

]]> http://sandinista.wordpress.com/?p=325 Sun, 24 Aug 2008 04:17:58 +0000 sandinista http://sandinista.fr.wordpress.com/2008/08/24/the-edge-of-heaven-2007-fatihs-akins/

Vācijas turkam Fatiham Akinam, man šķiet, karjeras everesta sasniegšana ir izdevusies ar tādu vieglumu, ka savos 35(!) gados viņš jau ir neapšaubāmi viens no labākajiem un spilgtākajiem Eiropas režisoriem. Patiešām, vienīgais piemērs ar tādu brīnumainu progresu varētu būt tikai Kusturica! Un vēl abus ļoti vieno etniskais moments - Kusturicam viss ir par serbu čigāniem, Akinam - par turkiem, kas dzīvo divās pasaulēs vienlaicīgi. Lai arī kā filmmeikeri viņi, protams, ir ļoti atšķirīgi.

Runājot par "The Edge Of Heaven" (kas Kannu festā "zaudēja" tikai, jūs jau paši ziniet, Eiropas desmitgades labākajai filmai) visvairāk fascinē jau tas, ar kādu vienkāršību Akins spēj pastāstīt par ļoti sarežģītām lietām, iespējams, vissvarīgākajām dzīvē, ar kādu tēlainību viņš prot zīmēt galvenās vadlīnijas - vārdu šeit ir ļoti maz, viss slēpjas kadros, žestos, skatienos, pieskārienos. Un ar šo visu komplekso uzbūvi pēc "Debessmalas" noskatīšanās nebūt nav kaut kas īpaši jārekonstruē un jāliek pa plauktiņiem - viņš ir mierīgs, pacietīgs, delikāts un ļoti, ļoti brīnišķīgs režisors. Kā saka, šī filma ar tevi paliek kopā uz ļoti ilgu laiku. Kā Kamī stāsti, piemēram.

Jā, vienā no galvenajām lomām lieliska ir vācu kino ikona Hanna Šigulla, pavisam jau večiņa, bet krutuma vairāk kā Elenai Mirrenai.

in 2008 martcore says
apm.ņurd.++

FİYAP Başkanı Galip Gültekin, Macaristan’ın başkenti Budapeşte’de yaptığı temaslarının sonunda, eylül ayı sonunda Türk Filmleri Haftası düzenleyeceklerini söyledi.

Budapeşte’nin ünlü Urania Sinema Sarayı’nda düzenlenecek haftada 8 Türk filmi Macar sinemaseverlerin beğenisine sunulurken, filmleri gösterilen sinema sanatçıları, yönetmenler ve yapımcılar da Budapeşte’ye gelecek. Budapeşte’de 2002 yılında Türk Filmleri Haftası düzenlendiğini hatırlatan FİYAP Başkanı Gültekin,  Macaristan’da yönetmenler Fatih Akın ve Ferzan Özpetek’in çok tanındığını, diğer Türk yönetmenlerinin de tanıtılmasının gerektiğini ifade etti.

22-27 eylülde düzenlenmesi planlanan film haftası kapsamında her gün iki Türk filmi gösterilecek. Urani Sinema sarayı’nda kurulacak FİYAP standında ise Macarca dağıtılacak broşürlerle Türk filmleri tanıtılacak. 22 eylülde yapılacak gala gecesine, Macaristan Kültür Bakanı ve Macar sinemasının önemli simalarının da katılması bekleniyor.

kaynak: http://sanat.milliyet.com.tr

Finally got around to seeing Turkish-German director Fatih Akin's new film The Edge of Heaven (German title: Auf der Anderen Seite) last week, and would honestly have to say it is the best film I have seen since Pan's Labyrinth and The Lives of Others hit screens here in NZ just over a year ago.

In many ways dealing with similar themes to those taken up by Alejandro González Iñárritu's 2006 film Babel (eg the tragedy of national, linguistic and cultural borders) it is however (I think) superior in every conceivable way.

For a start, although The Edge of Heaven is not exactly a political film, it nevertheless does not shy away from addressing some very serious concrete political issues - from the hypocrisy of the European Union's position on asylum seekers to Turkey's persecution of Kurdish and communist dissidents, the film is not afraid to raise questions which demand a political (as opposed to a purely emotional) response.

The film has two central protagonists - Nejat, a professor of literature at a German university and the son of Turkish immigrants, and Ayten, a young female university student in Istanbul whose mother has emigrated to Germany in search of work to support her daughter's studies.  However Ayten's mother Yeter ends up unable to find a legal means of employment and becomes a prostitute working the streets of Bremen.

When Nejat's father Ali invites Yeter to become his live-in girlfriend and then kills her one night in a drunken rage, the lives of the two central protagonists become inextricably intertwined - although they do not physically meet.

Wracked with revulsion and guilt at the actions of his father, Nejat travels to Istanbul to try to find Ayten and offer some kind of material resitution.  However unbeknownst to him Ayten has in the meantime been forced to go underground due to her membership of a marxist/pro-Kurdish political organisation which is engaged in a military struggle against the Turkish state.

While seeking Ayten on the streets of Istambul Nejat finds reawakening within himself a desire to discover his Turkish identity and the ancestral village of his family at Trabzon on the Black Sea coast.  The road journey along the sea coast which forms the framing narrative within which the central action of the film takes place is in many ways symbolic of this and recalls Orhan Pamuk's 1997 novel which deals with a very similar theme, The New Life.

There are also some moments of genuine Kafkaesque irony in the film, such as when the German immigration authorities declare that they cannot accept claims for asylum from Turkish political dissidents because although they appear to face almost certain imprisonment and torture upon their return to their home country, since Turkey is currently in negotiations for accession to the EU they have to adopt the legal fiction that Turkey actually respects human rights!

Not mentioned in the film but further adding to the irony here is of course the fact that Germany actually opposes Turkey's entry into the EU because it is a Muslim country (although in point of fact most of the institutions of the Turkish state - especaially the army and judiciary - are militanty secular).  Indeed, one might very well point out that having made so many concessions in terms of opening up the Turkish economy to foreign capital (which has been an unmitigated disaster of course for the Turkish people) and agreeing to implement the Annan Plan for Cyprus without progressing any further down the road to EU membership the Turkey has been very shabbily treated.

However, as Fatih Akin reminds us that is no reason for leftists and progressive people to have any sympathy for the Turkish state, which fiercely represses the rights of not only Kurds and leftists but also trade unions and minority religious groups such as the Alevis.

Rather than choosing between the "lesser evil" of this or that capitalist state with its attendant repressive apparatus, The Edge of Heaven champions internationalism and a common humanity that transcends both borders and nation states.

Blue Mosque, Istanbul, Turkey. Inspiration: Fatih Akin´s Im Juli: beautiful postcard motifs and excellent soundtrack!

http://katilbize.net/forum/index.php?topic=151.0

http://katilbize.net/forum/index.php?topic=151.0

http://katilbize.net/forum/index.php?topic=151.0

http://katilbize.net/forum/index.php?topic=152.0

http://katilbize.net/forum/index.php?topic=152.0

http://katilbize.net/forum/index.php?topic=152.0

Wem die Robert De Niro Huldigung im Fernsehen dann doch zu viel ist, hier eine feine Alternative: 25 Statements in Kurzfilmform zur EU-Erweiterung, mit den Themengebieten Einwanderung, Migration, Identitätssuche und Status-Kritik von namhaften Regisseuren wie Peter Greenaway, Fatih Akin und Barbara Albert.

Hier ist der Prolog zu "Visions of Europe" von Béla Tarr zu sehen.

நேற்று Grave Decisions, The Edge of Heaven மற்றும் Head-On ஆகிய திரைப்படங்களைப் பார்த்தேன். நல்ல தரமுள்ள படங்கள். வரும் வியாழக்கிழமை வரை திரையிடப்படவிருக்கும் 21 படங்களில் (7 குழந்தைகள் திரைப்படங்கள்) 10 படங்களை பார்த்து விடுவதாக உத்தேசம்! அடுத்த வாரம் ஒற்றைவரி விமர்சனங்கள் எழுதுகிறேன்.

ஜெர்மானிய படங்கள் பிரஞ்சு, போலந்து நாட்டு படங்களைப் போல ஆழமில்லாதவை என்ற என் கருத்தை இந்த திரைப்பட விழா மாற்றவேண்டும். பார்க்கலாம்! நீங்கள் பெங்களூரில் இருந்தால் சிவாஜி நகர் பேருந்து நிலையம் அருகில் இருக்கும் லாவண்யா திரையரங்கத்திற்கு விரையுங்கள்!

முதலில் இங்கு பதியப்பட்டது.

செப்டம்பர் 3: மேலே கூறிய மாதிரி ஒரு வரி விமர்சனம் எழுதும் ஆர்வம் போய்விட்டது! அதனால் இந்த விழாவில் நான் பார்த்த மற்ற படங்களின் பெயர்களை மட்டும் குறிப்பிடுகிறேன். Requiem, Ghosts, Nothing but Ghosts, Distant Lights, War Child.

neapărat de văzut, preferabil [pentru bucureşti] peste ceva vreme, la un scala/studio/patria unde cu jumătate de sală plină ai parte de mai puţină poluare sonoră decât de la cinci-şase perechi de ochi din multiplex.

Although very little is revealed in this opening sequence, the visual beauty and measured pace of the film are established.  It is this pacing, the still shots followed by slow pans that makes the film so watchable, and hangs it together across vast temporal shifts.  Time is a theme at the heart of this film, and this is reflected in its non linear construction. The narrative shifts are simply cut between rather than marked, which gives the film the sensation of spanning several different times simultaneously.

The theme of time is further explored in the cross-generational relationships of father and son, mother and daughter, as well as in the constant push of old and new in both Hamburg and Istanbul.  Akin's Istanbul shares the melancholy of Orhan Pamuk's Istanbul.  In Istanbul: Memories of a City, he writes, 'For me [Istanbul] has always been a city of ruins and of end-of-empire melancholy…I love the overwhelming melancholy when I look at the walls of old apartment buildings and the dark surfaces of neglected, fallen down wooden mansions: only in Istanbul have I seen this texture, this shading.’  In The Edge of Heaven, the buildings are both new and old.  Beside Nejat’s refurbished apartment building is a similar building in decay.  The walls are crumbling, the paint almost all gone, the windows smashed in.  All cities have these polarities but here it is particularly marked.  The old and new are connected, sharing the same wall.

Similar in structure to the films of Alejandro González Iñárritu, where several stories take place at the same time, The Edge of Heaven shows it’s characters attempting to link up and not succeeding.  Ayten drives past Yeter going in the opposite direction on a bus.  Nejat rips down the photo of Yeter a few moments before Lotte comes into his shop.  While these near misses feel a little contrived, the sheer visual beauty of the film and the superb performances save it from ever being irritating.  My cinema going companion felt the religious allusions brought in toward the end when Nejat relates the story of Ibrahim and Ishmail were a little heavy handed, but I felt that it was right for Nejat’s character, who despite his youth is probably the most traditional character in the film.  After all, he spends his life enmeshed in the past, and in the realm of thought - lecturing on Goethe, surrounded by the words of dead philosophers, while his father’s greatest desire on being released from jail was to go fishing.

با سينماي تركيه خيلي آشنا نيستم‏، تنها 2 فيلم از اين سينما را ديده‌ام. هر دو برنده جايزه‌هاي متعددي در سطح جهان بوده‌اند. دو سال پيش فيلم يول (راه) را تماشا كردم برنده نخل طلاي كن در سال 1982 ، به شدت دوستش داشتم، يك درام نفس گير، داستان پنج زنداني كه به مرخصي مي آيند و هر كدام درگير ماجراهايي تلخ مي شوند.  ديروز هم فرصتي شد كه فيلم بر لبه بهشت ساخته فاتح آكين محصول سال 2007 را تماشا كنم. داستان سه خانواده، يك پدر و پسر، دو مادر و دختر. فيلم در باب عشق بود و ارزش زيستن، همراه با چاشني تقابل فرهنگ شرق و غرب، نگاه جوانان امروز تركيه به دنيا و مفاهيم آن، اعتراضات دانشجويي، آرمان گرايي و .... دو فصل اول فيلم تلخ است و شوكه كننده. تم شرقي فيلم هم باعث مي‌شود كه ما و كارگردان جوان فيلم زبان هم را بهتر بفهميم.  فيلم برنده بهترين فيلمنامه جشنواره كن 2007 شد و نامزد نخل طلا