Gegen die Wand

With just a cursory knowledge of the cultural conditions in Muslim countries, every viewer can quickly piece together what young Sibel is fighting for at the beginning of the film and why she resorts to unconventional means to achieve her goals. The ensuing plot carousel, on which not only the main driver of the uneven marriage hinges but also a considerable portion of well-disguised narrative values, revolves at a subtly moderate pace, allowing director Faith Akin to provide ample space to express everything he has in mind to the audience. In the dimly lit atmosphere (most scenes taking place at night), there are indeed some pleasantly romantic moments with a touch of humor (like carrying the bride over the threshold), but they are quickly overshadowed by more ominous scenes that ultimately serve as a warning against clinging to outdated traditional family values. The fact that they drink beer, snort drugs, and cover it all with a "merciful" fog of cigarette smoke is beside the point. The performances of the actors propel the film forward with sheer force, and they boldly engage in everything, starting with sex and ending with a strong dose of emotions and blood splattering. The only flaw remaining is the somewhat kitschy-looking band playing on the shores of the Sea of Marmara. Indeed, understanding the mindset of a Muslim might require a deeper insight and perspective. (23.08.2005)

A very unpleasant picture about how it is also possible to live and surprisingly continue living in it. However, I would probably see the problem precisely in that unpleasantness, because I don't really see anything on those characters that would make me want to watch them. I don't want to look at them. But maybe even that is an element connected with a good film. (08.04.2016)