User Reviews

"Head On (Gegen die Wand)" is a completely original love story and shames conventional Hollywood romantic comedies with its fresh take on love and loss as rich as Rhett and Scarlett.

The closest I can think of a dysfunctional couple meeting so oddly cute and playing out an unusual relationship is in Christopher Fry's "The Lady's Not for Burning" which shares self-destructive lovers. The German literal title of "Against the Wall" is more resonant of how they feel, but the American distributors probably thought that had too much political implication.

The completely self-involved he and she here are innately off-kilter because writer/director Faith Akin sets them within a diverse Turkish immigrant community of Germany, so that their personalities are circumscribed by cultural expectations and restrictions, she chafing against binds on women and he lost in the nihilistic punk rock underground.

The rocky journey of how they find their own individuality within their sexual and emotional needs and ethnic identity and what each means to the other is an unpredictable thrill ride as each unexpected action leads to tears, laughter, poignancy and regret of bad timing. This is a baldly brash and frank exploration of the meaning of love and marriage, as individuals and within a web of family, friends and culture.

Craggy-faced Birol Ünel is riveting as the older, burned-out case whose past we only glimpse. Sibel Kekilli at first seems like just another pretty young thing, but brings spunk and sympathy on her maturing roller coaster ride. Evidently, deleted scenes that are available on the European DVD help to expand on the hints as to what her closing motivations are.

Dependant on the English subtitles, I'm sure I lost some significances as I wasn't sure when characters were speaking Turkish or German, let alone able to discern their fluency in either, with the added fillip of recognition of globalization with a sudden concluding discussion in Istanbul in English of their future.

The chapter introductions by an ethnic band playing a traditional sad love song adds to the timeliness of the tale that is reminiscent of old folk ballads of tragic love stories. In between, the punk rock and contemporary world fusion selections are terrific, including the moving closing song.

In St. Pauli, Hamburg, the alcoholic, drugged and hopeless German with Turkish roots Cahit Tomruk (Birol Ünen) lives like a pig in a small dirty apartment and survives collecting empty bottles in the night-club "Der Fabrik". One night, he gives up living, and hits his car against a wall. However, he survives the crash and is sent to a clinic, where he meets Sibel Güner (Sibel Kekilli), a younger German Turk, with suicidal tendencies. Sibel is the younger daughter of a conservative Turkish family, and proposes a fake marriage to Cahit, in order to permit her to leave her family; in return, she would share the rent of the flat, and she would cook and clean the place, and they could have independent lives. Cahit accepts, but while living with Sibel, he falls in love for her, until a tragedy happens.

I saw "Gegen die Wand" yesterday and I am still very impressive with this powerful German movie. It is bitter, sad, heavy, unpleasant – but also an original and very realistic non-Hollywoodian love story. The location in St. Pauli, close to the famous Reeperban Street, could not be more perfect as the environment for such depressive story of losers. The precise direction of Faith Akin (obs: IMDb dictionary does not allow to write correctly the name of the director) is stunning, and the performance of Birol Ünen and Sibel Kekilli are outstanding and deserved nominations to the Oscar. When the character Sibel reaches the bottom of the well in Istanbul, Sibel Kekilli shines with a mesmerizing performance. Unfortunately we will never see Hollywood shooting this type of story, which is recommended for very special audiences. My vote is eight.

Title (Brazil): "Contra a Parede" ("Against the Wall")

This is one of the best love films ever made. Actually I'd call it 'the best' but some would accuse me of exaggerating but trust me it is much better than artificial and unrealistic examples of Spanish, French and Italian romance cinema. This film has a heart inside that pumps blood to every sequence of it. I think Faith Akin did a great job keeping this film organic and earthly.

There is despair, hope, love then despair and hope once again. I could easily relate to the characters. Speaking of characters, Birol Ünel is the most charismatic actor I've seen lately, he dominates the screen along with Sibel Kekilli. Sibel Kekilli is an angel, pure acting, it is unfortunate what she had to go through in real life but she is stronger than most people and she had to prove it many times. In supporting roles there is Güven Kirac, who is one of my favorite actors in Turkish cinema and Meltem Cumbul who provides good acting.

By the way despite of all the tragedy there is also ethnic humor in this film which goes hand-in-hand with the story. Especially the scenes with Birol Ünel and Guven Kirac are quite amusing, especially if you know Turkish.

Anyway, all I have to say is "I feel you, your sun it shines, I feel you within my mind, You take me there, You take me where the kingdom comes, You take me to and lead me through Babylon" ... I was riding in that car with Cahit.

Tebrikler Faith Akin, WE WANT MORE OF THESE!

Head On (Gegen die Wand), winner of the top prize "Golden Bear" at the 2004 Berlin Festival, is occasionally interrupted by a panoramic shot of a singer performing in front of a small Turkish orchestra on the banks of the Bosphorus across from Istanbul. It's a simple, at first incomprehensible, little device that provides punctuation and clarity amid the chaos and melodrama that otherwise dominate this story of a Turkish man in his forties and a twenty-year-old Turkish woman who meet in a psychiatric facility in Germany when both have attempted suicide -- he by crashing his car into a wall ("head on"), she by slitting her wrists. Cahit Tomruk (the sublimely attitudinizing Birol Ünel) is a purposeless rock 'n' roll loving boozer with a dead-end job collecting bottles at a club, and Sibel Güner (the wiry, intense Sibel Kikulli) is a young woman with conservative Turkish parents who wants to escape family pressures.

Both are total drama queens and both are German-born Turks. Cahit is more assimilated; his Turkish isn't even good. Sibel figures if he'll agree to marry her that'll get her away from her family. This is the irony of their situation: she must capitulate to the conventions of their culture in order to gain some freedom from it, and he must capitulate to society in order to get some sense of purpose. So they do get married -- he somehow passes muster with the stuffy family, baulking all the way -- and they eventually even fall in love. Her joie de vivre is exactly what he needs, and she's essentially just as wild in her way as he is in his -- but his nihilism and violence continue unabated and so does her promiscuity, and his brutal attack on one of her one night stands leads to jail and scandal, which in turn forces her to go to Istanbul. While he's incarcerated she writes him sustaining letters from Turkey -- their relationship, like the staid orchestra on the Bosphorus, is a stable element amid the surrounding chaos -- and after jail he goes to Turkey to find her.

To say this turbulent, brightly colored, lurid story is a "realistic picture of Turks in Germany" would be a total distortion of the truth. But somehow the situation of Cahit and Sibel reflects the unstable moods this half assimilated, half alien population experiences, and however melodramatic and unresolved the saga is, the two main characters are very well realized. The actors are strong, especially Birol Ünel, whose charismatic brooding and ravaged good looks make him irresistibly watchable. Both feel real to us -- he sardonic and gloomy, she dangerously spirited and full of life-- despite her dramatic suicide attempts, of which there's more than one. The story, as much as the images through which it's told, is both dark and vibrant.

We need the Brechtian, Greek-chorus device of those orchestral interludes on the Bosphorus, though: without an occasional break the drama and darkness would be too much. We also need to go with the flow of this movie, and not expect it to be more polished or more organized, or even better looking, than it is. It looks unlike most films we're seeing now, but that doesn't mean the cinematographer hasn't done the best possible job. What it has is life, tumultuous with incident, strong personalities, and a milieu we've not seen before. There's also a loud, authentic-feeling rock-pop soundtrack and a cunning contrast between Cahit's punk-rock sensibility and Sibel's love of good grooming and dance. Arguably the movie is too long, but that length gives it the feel of a saga, which it must have, because that's what it is, the confused, tawdry epic of a generation. Like all first films by a whole subculture, it has a lot to talk about. When Sibel and Cahit discover they still love each other, after everything, it's the Turkish Germans discovering that they have self-worth. The last scenes are open-ended: this generation's future is anybody's guess.

Seen in Paris 17 September 2004. Opening in the US in January 2005. First German film to win a Golden Bear in Berlin in eighteen years.

Turkey premier of the movie has been held here just a few days ago but even before that all the attention was taken on the pornographic past of the lead actress neither on the golden bear nor on the success it has gained internationally (Which I hated the way media approached) ... I have seen it recently and should say its a must see movie. A classic story of the 3rd generation of Turks in Germany outlined very well around a love story. Lead actor Birol and Sibel Kekilli have done a good job . The basic story takes you in and makes you feel all the sadness, craziness, happiness, joy and deep depressions of the characters. The bitterness of the reality spread all over the movie and kind of depressing. The story is also politically and socially a very good point expressing maybe thousands of peoples true lives stucked between two cultures. I would love to watch it once again. This was Sibel's first movie and I believe she will be a very good actress and wishing her luck;

I admire her posture towards all the criticism so much .

I haven't watched such a great movie for a long time and it is really great to see that this is a Turkish movie. After Nuri Bilge Ceylan's success with Uzak in Cannes Film Festival, Fatih Akin made a very successful move in contributing to Turkish cinema. First of all, the movie explains the life of the Turkish immigrants in Germany in a perfect way. We see how they cannot be neither German nor Turkish anymore. They are stuck in between and they act as punks. For instance, it is really true that most of the young Turkish people in Germany cannot speak Turkish, like Cahit. We also see the ridiculous pressure of Sibel's family: For instance, while her married brother threatens&beats her whenever she has a boyfriend, he and his friends can comfortably speak about how they sleep with prostitutes! Also the cast is very good, especially Sibel Kekilli and Birol Unel. I loved the scene where we can see the smile in Sibel's eyes in the amusement park: she is so much in love... In addition, there are so many things to say about the movie.. The story is a very striking one itself. The hopelessness of the characters in a world without love and moral values are explained so well-without making it dramatic. Also, Sibel's life in Istanbul, her cousin's life-like many of us: still single and waiting to be promoted!- are also judgements beside the main genre. The music is also very nice, with Depeche Mode and also traditional Turkish music. Faith Akin has really made a good job.. The script is excellent and the scenes are all pieces of artwork. I wish the best for him and all the cast and I hope to see movies perfect like this in the future too...

Some people think this movie is about a culture immigrants (German, Turkish) But that is not the emphasis, the emphasis is about how low one can go, where does one hit the bottom, and a love intertwined in such a spiral. A magnificent tragedy, but it doesn't make you feel depressed, it makes you take a big deep breath in and damn and appreciate life at the same time. The actor and actress are magnificent so was the supporting actors. The director doesn't treat the audience as dumb nor as people who have to really think hard to get it. The sequence of events, the transition from scenes are magnificent.

The movie swept every possible film award in Europe and is sweeping rewards in North America and rest of the world. This this is the best foreign movie I've seen. PERIOD (.)

I haven't watched such a great movie for a long time and it is really great to see that this is a Turkish movie. After Nuri Bilge Ceylan's success with Uzak in Cannes Film Festival, Faith Akin made a very successful move in contributing to Turkish cinema. First of all, the movie explains the life of the Turkish immigrants in Germany in a perfect way. We see how they cannot be neither German nor Turkish anymore. They are stuck in between and they act as punks. For instance, it is really true that most of the young Turkish people in Germany cannot speak Turkish, like Cahit. We also see the ridiculous pressure of Sibel's family: For instance, while her married brother threatens&beats her whenever she has a boyfriend, he and his friends can comfortably speak about how they sleep with prostitutes! Also the cast is very good, especially Sibel Kekilli and Birol Unel. I loved the scene where we can see the smile in Sibel's eyes in the amusement park: she is so much in love... In addition, there are so many things to say about the movie.. The story is a very striking one itself. The hopelessness of the characters in a world without love and moral values are explained so well-without making it dramatic. Also, Sibel's life in Istanbul, her cousin's life-like many of us: still single and waiting to be promoted!- are also judgements beside the main genre. The music is also very nice, with Depeche Mode and also traditional Turkish music. Faith Akin has really made a good job.. The script is excellent and the scenes are all pieces of artwork. I wish the best for him and all the cast and I hope to see movies perfect like this in the future too...

As I mentioned in the subject if you ask me to describe this movie only in one word, this word would be SINCERITY, or may be HONESTY.

Turkish people as a conservative society mostly do not get used to approaches towards Turkish culture in this movie by Fatih Akin. He successfully describes the boundaries formed around Sibel originated by her culture in an opposite-culture dominated country Germany. Fatih Akin has a free approach towards the life of Sibel surrounded by the WALLs built by her Turkish origin.

I believe the reason of the free & brave approach in Fatih Akin lies in his free social and cinematographical development as a later generation Turk at Germany. In Turkey, we have no chance to get that approach he has, from our local directors because of legal, social and market dominated factors in local Turkish cinema.

Besides movie tells a love story happened in an environment between, behind, among and surrounded by the WALLs. Sibel marries with an alienated looser man Cahit to break down the WALLs. But she forgot to plan about love. Love damages both of their lives in an unfortunate realistic way.

As a result, Gegen die Wand - Head-on - Duvara Karþý is a must see SINCERE movie by a Turkish director from German cinema.

The title actually better translated as "Against the wall" and, seems to me, expresses feelings of the director Faith Akin regarding fate of his Turkish compatriots transplanted from Turkey to Germany, very much dissimilar countries divided by culture, traditions and way of life. Cahit (Birol Unel) deeply assimilated Turk in German society, who lost someone dear to him and on the self-destruction mission. Sibel (Sibel Kekilli) is a young Turkish girl, feeling trapped in the stifling confines of her traditional family, not being able to escape, trying to commit series of unsuccessful suicides. I hope you are getting the picture, and this is not a pretty one! Both of them are driven by basic instincts to which they give themselves fully. Loveless sex, drugs, bar scenes – the works. They are both "walled in" by their individual worlds from which there is no escape. Cahit is unpleasant, nasty, egoistic, dirty and ugly personality. Sibel is passionate, self indulgent, immediate-gratification type. Both of them do not exhibit any trace of intellectual life what-so-ever. They as well could be a pig and a cow. Food, sex, drugs – not the drive to improve themselves, use what god's given, learn to see beauty in the nature, develop and use your mind instead of systematically destroying it.

Oh well, you will say, but they are in special circumstances. Human condition, you will say. What can you do? They are trying and trying but somehow can never quite kill themselves. Perhaps because their level of wretchedness can never exceed their hope for another round of sex, drugs, or any other such bodily pleasure. They hurt other people, who feel responsible for them, abuse them. And what about human condition of the rest of us, who are trying to bring meaning to our lives? Do we have rights? Do we deserve respect, even if we do not hurt others, working, trying to make life pleasant to others, do not ask and expect handouts? But they are mentally ill, you will say. Don't we have responsibility to care for sick? Are we to abandon them? Dump our daughters and friends when they are sick? Perhaps we can save them? Hopefully, the "Head On" will chip off a piece of the wall that isolates main characters and permit better their social integration into German-Turkish-Human society.

Faith Akin produced credible and potent work of art which will endure. The film can (and should be) viewed more than once and deserves the acclaim it had gotten. It is nuanced and rich in promises of more and better things to come from this director.

This movie surprised me, because although I had read that it was good, it exceeded my expectations. The characters felt authentic and possessed believable strengths and weaknesses. The actors turned in powerful performances and I find myself, the day after I saw the film, still thinking about the plot but mostly remembering the expressions on the actors' faces.

The movie did seem a little too long, but in trying to think of scenes to cut, I realized that nothing in particular felt superfluous or irrelevant to the storyline or character development.

Finally, I didn't like the end! But that's probably because I've been ruined by Hollywood with its sappy happy endings. This film ended as it should, and probably as it had to.

Gegen die Wand / Head-On is music driven on almost all fronts: In storytelling itself, in reflections on the story (traditional ensemble in Instanbul) and as background (clubs, cafés, music in homes). In all Turkish cinema that matters you can nowadays see two main streams: Slow, reflective movies like Uzak and movies that are strongly driven by emotions and are very intense like this (although made in Germany). This movie is influenced by Lynch, especially some scenes of Lost Highway and Wild at Heart.

The story is about two second-generations Turkish immigrants struggling with their place in German society, more hindered than helped by their Turkish traditional roots. Suicidal for different reasons they arrange a fake-marriage to help the girl out of her strangling family relationship. True love sets in of course, but in the end traditional values overcome this. It has a bleak and dark tone. Although it may not sound too original, it is daring in its portrayal and surprising. One of the sisters is more successful in a modern looking Turkey for example as a business woman. Turkey often looks here like paradise in contrast to the depressing German immigrant slums.

Faith Akin is a linear and straightforward filmmaker. But here he makes intuitively all the right choices.

(If you liked this check out the recent Turkish movie Anlat Istanbul, a combination of Fellini's Roma with a Pulp Fiction-like structure.)

just wanted to add my voice to the chorus of hallelujahs...i love this movie for all the above reasons.

I was drawn to this because of my long-standing love affair with the city of Hamburg. And the city is so proudly represented here - the wonderful seedy world of the bars and clubs and all-night Turkish food joints of Altona and St. Pauli, the poetry of crushed beer cans.

Watching this film is like listening to a great Tom Waits album...it has all the gleeful lewd humor and bitter tears and truth.

And yes, Birol Unel's performance is as moving as acting gets.

There is no way to overstate how good this film is.

'Gegen die Wand' in German, 'Duvara karsi' in Turkish, or 'HEAD-ON' in English is an explosive drama written and directed by Faith Akin, a movie that may be tough to watch, but a movie that has enormous impact. While other films have successfully addressed the particular problems that the immigrant Turkish community in Germany face, few have come as close to examining all sides of the on-going issues of displacement and the effects of familial dispersal in the face of a new culture.

Cahit (Birol Ünel) is a thirty-something lost soul, drinking and snorting himself into oblivion over the loss of his beloved wife. He lives in a slum, spends all his time in sleazy bars getting beaten up for inappropriate behavior until one night he drunkenly drives into a wall (?suicidal?) and ends up in a hospital where he 'meets' Sibel (Sibel Kekilli), a young woman who has again attempted suicide as an escape from her strict family's prevention of her having a life. Hearing Cahit is Turkish, Sibel nonchalantly suggests they 'marry': Sibel's only way to escape her family would be to find a Turkish husband. Though grossly mismatched, the two agree to an 'open marriage', they satisfy Sibel's family, and move in together. Sibel cooks and cleans Cahit's hovel, and then goes out and sleeps around. This arrangement eventually causes problems for each of them and Sibel moves to Istanbul to escape the horrors of the life she has chosen. Once alone, Cahit is confronted with the reality that Sibel is the only path to salvation for his tragic life and the story proceeds - or rather speed drives - its way to a heartrending finish.

The characters in the film are generally unlikable sorts, especially Cahit, but each actor does so well allowing us to observe the dreary world that faces immigrants in a fractured society that we end up having an amazing amount of compassion for their character creations. Director Akin makes this two-hour plus drama speed by with such solid purpose that it seems a short film. There is considerable nudity and the sexual encounters may be a problem for some viewers, but Akin's cinematographer Rainer Klausmann makes everything work toward the ultimate message of the film. An interesting touch is Akin's choice of weaving a chamber music group of a female vocalist with Turkish instrumentalists as a chorus to comment on the action and keep us mindful that, though the film for the most part is set in Germany, this is a very Turkish story! Grady Harp

I saw this film yesterday for the second time (I originally saw it last year) and loved it as much as I did the first time. This is probably my favourite film in the last 12 months so hence the need to say my bit. There is a wonderful, powerful, visceral quality to this film which is extremely rare in any art-form (lets be honest), so credit needs to be placed where credit is due - and it is due in huge amounts here. 'Head On' takes you on an emotional journey to the edges of the human experience, tempered by an nihilism and a soul-searching despair that feels all too real. These are not so much characters but real people with real dilemma's, and their life experiences oozes from every visible pore. The two central performances are bloody amazing and a reminder of what real acting (and characterisation) is all about. The direction is profound, not to mention the wonderful soundtrack (the Birthday Party track much appreciated!!). I can't say anything but complimentary things about this film and in my humble opinion is a modern-day masterpiece. On the small off-chance that the actors/producers/ director or anyone connected to this film reads this, congratulations on a fantastic piece of film-making!

Gegen Die Wand is a major success of Turkish cinema, or rather Turkish and German cinema together. Yet another masterpiece created by Turkish-German synergy after the outstanding Lola + Bilidikid. Of course that one is more "subculture specific", but in the end the two deal with the lives of German Turks who are both German and Turkish, or more like neither German nor Turkish. So it seems like Turks and Germans can create great things together when they give up the Gastarbeiter vs. local attitude ;-)

Faith Akýn must be congratulated for his cast selection! Nobody could play Sibel better than Sibel Kekilli. Apparently, she doesn't only act, she adds something from her actual life. One way or another, she deserves an Oscar with her performance! The others are nowhere behind her, especially Birol Ünel makes you feel for his character. The "German Turks subculture" depiction is brutally realistic too. I don't think anyone shall have a single bad thing to say about this movie, that would be plainly ridiculous.

A love story, a profound depiction of social issues regarding the "German Turks", a virtual cultural journey. Everything, and everything good, exists in this flick! Thanks to Faith Akýn and the entire crew for bringing such a delight to life!

9/10

It's the juxtapositional portrayal of the lives of the two fallen second generation Turks, in Germany, grimly depicted by one of the most promising German-born Turkish directors, Fatih Akýn. However, for the discerning viewers it wasn't difficult to notice the resemblances of the cinematography techniques between the Argentine-born French director Gaspar Noé's in his shocking and controversial movie `Irreversible' and Fatih Akýn's `Head On', particularly by his imitation of Noé's flashing stroboscopic lights effects, violent and speeding camera movements, ear-piercing, screeching sound effects and the notorious scene in his movie.

Sibel Kekilli, the leading actress, who has contributed to the publicity of the movie by her recently revealed porn star history as well as casted a shadow over the movies overall success of winning the Berlin International Film Festival's Golden Bear Trophy.

Birol Unel who played Cahit, a loser, a drunkard, a doper living in a two-bit life, riding on the fast lane has reminded me of the edgy, convincing and charismatic performances of the great actor Willem Dafoe and for my opinion Unel was the true savior with his powerful acting performance.

There were also some minor holes in the plot, like unrealistic portrayal of the Sibel's family's oppression and fundamentalism to justify her despair, especially the mother figure shakes the integrity of the plot.

Head On's mesmerizing scores, ranging from the punk-rock, jazz and the new age to the eastern vocal ethnic elegies and the oriental tunes of the Turkish traditional music, from such artists like the British Depeche Mode with their many German and Turkish counterparts, not only underlined the culture clash between the East and the West, but made this movie a true feast for our ears.

Needless to say, despite of its flaws, this movie still shines as a masterpiece of Turkish Cinema with its unique universal storytelling of Fatih Akin, who has all the inventories of the prominent directors of the Western Cinema, but undoubtedly this movie proved us that he had even more.

As a Turkish-American, my praise for "Head-On/Gegen die Wand/ Duvarlarla Karsi" is perhaps predictable and it does admittedly contain a degree of subjectivity. But, one must realize that Akin has succeeded where other talented Turkish-German directors have not. There was a genuine, noble effort called "Yara" (an earlier Turkish-German film) which demonstrates how hard it is to make a cross-cultural film which is universally accepted- one which is not isolated to either one country of origin (in this case Turkey or Germany) or the other. "Yara" had many great performances, and moving moments with wonderful cinematography, character acting, and an amazing film score, but it still did not meet its overall creative objective. "Head On" does just that though. Birol Unel and Sibel Kekili are profoundly amazing, as is Meltem Cumbul and the rest of the supporting cast. The film is also well-edited and it sticks to its complicated theme throughout. We really feel for everyone involved, even many (but, certainly not all)of the antagonists, and care about them. The film is brutal and harsh in its depiction of both Germany's cultural isolation towards immigrants and in backwards social mentalities in conservative Turkish circles which both oppress those who fervently oppose them and prevents those who challenge the mentality from getting past the discrimination which results from the darkest aspect of Anatolian life (which alas does not change with immigration). A tough film which should stand the test of time. But, it is not quite as profound as the Turkish film "Uzak/Distant" which was released here in the USA last year. Nor, did I enjoy it as much as another current German film "Downfall," which I (it alas seems to be a minority view) found absolutely riveting. But, along with "In July," there can be no dispute of Akin's talents which will be challenged by the high expectations many of us in the world Turkish community have for him. But, he has clearly earned that.

What a thrilling ride and what a powerful one. Lead actor looks like a brutish mixture of Jagger as Ned Kelly, Morrison, Iggy Pop and Nick Cave ,and acts like a monster. Two desperate people meet each with little to lose. The chaotic, rootless life they share brings them closer as they start to realize they have only each other. You can't take your eyes off male lead Birol Unel who drinks with utter abandon. This guy has turned a passion for living into a passion for dying. The suicidal Sibel who he meets is also charming in her willingness to push every boundary in search of a life she can live that makes sense to her. She is hemmed in by traditional Turkish mores and we are shown how wives end up in that culture--honored in gesture, completely devalued in practice.

Unel in his moody majestic splendor is reminiscent of the great Klaus Kinski in Aguirre, Wrath of God. We watch him cop out over and over from facing anything like commitment to life or people. But his relationship with Sibel, born in nihilism and total scorn for convention, prods to life whatever remaining feelings he still possesses.

What I love about this film is that it has real solid characters who are people that you care a lot about; it has education about the Turkish community in Germany and by implication about Muslims in Europe; it always shows and does not tell; it has wit and provocation and is multidimensional and makes you realize there are some things worth fighting for.

My friend commented after seeing it that a quick comparison of this film with most Hollywood product shows just what pap we are accepting from LA. Yay for rage, guts, blood, love and meaning. Thanks to the creators for a film that ranks with Last Tango in its rawness and power.

It's an interesting plot that's different from typical movies, but nonetheless it lacks logic and that always takes a lot away from a movie. The fact that a girl, for the simple fact of leaving home, proposes marriage overnight to an inveterate drunkard is hardly credible, and also when they go to ask for the girl's hand, she appears badly dressed and looks bad with a poor speech... A father of a family would accept that his daughter so easily marries someone without first getting to know him a little more???

Afterwards, the development of the film was not bad, although the ending loses its essence and with this I'm not saying that I expected it to have a happy ending, but I think they could add a bit of drama to the final scenes.

My score is a well earned 7, no more, no less.

I said.

A good film, but nothing special, I expected much more having already seen Faith Akin's newest film "Auf Der Anderen Seite" which is excellent!

Sometimes the movie looks and feels like a diluted Kusturica movie, it has at times also a feel that it was artificially constructed to please and that takes away from what could have been a much better film. The acting is generally very good, the story is interesting and the characterization also, but there is something missing, something that would bind it all together into a coherent whole. Like this, the film is merely a collection of good (and not so good) scenes that do not always seem to be connected to each other and do not always make very much sense, especially in the second half of the movie. Again, not bad, but certainly nothing to write home about.

He's a kamikaze, he's Turkish and German (or from nowhere), he's lost the love of his life and now anything makes any sense... One night, after having too much beer and cocaine he decides to crash his car into a concrete wall. She's a young and beautiful woman that's dying to live freely, "I want to 'youknowwhat'!!", she says; she wants to enjoy life, to enjoy her city (Hamburg), but she belongs to a strict and chauvinist Turkish family, their stupid traditions are driving her mad, so she decides to cut her wrists... Two lost souls will find in each other just what they need: some fresh air to breathe.

"Gegen die wand" has a modern touch, very "european", despite the Turkish origin of most of the crew and the cast. It's rather bittersweet but with some room for optimism. The characters have been perfectly made, and they do transmit the need of love and of be loved, of having an illusion in our lives. It's a hard movie, no doubt about it, but catharsis ain't possible without some pain.

PS: for those dark-rock addicts, in the soundtrack you'll find songs from Nick Cave's Birthday Party, Depeche Mode, or Sisters Of Mercy...

*My rate: 8/10