Nur eine Frau

The enemies of religion have corrupted Islam so much with lies that a woman's life has become more worthless than a dog in the street, what a pity. There is no justice in so-called Muslim countries. And it never will be. You should definitely watch. An exemplary movie.

Sibel Kekilli played a character inspired by Sürücü in the 2010 movie "When we leave", which was infinitely better than this one. That film's director Feo Aladag is herself of migrant origin, whereas Sherry Hormann is German and mostly known for television and romantic comedies. This explains the distinct lack of subtlety. "A regular Woman" has an artificial feel, whereas "When we leave" is a deep psychological view of a woman who has to go through such an ordeal. Kekilli's performance is the strongest of her career - she was cast for "Game of Thrones" after that - and mirrors her own life (she is of Kurdish origin, and her family cut her loose when she left the house). The actress here lacks charisma and goes through the motions like performing on a high school stage.

As someone who lived in Berlin and had many Turkish friends and relationships, I can confirm that everything in this film is factually true. It does, however, leave out the accompanying factors of this situation. For instance, the Kurds are a particularly close-knit community because of their persecution in Turkey; since Kurdish was forbidden in public use, there has been no higher education in that language. That explains why migrant Kurds often appear particularly traditional. Also, religious fanaticism is a way for them to connect to other Sunni Muslim expats who otherwise resent them, like Turkish nationalists. Given that the film does show how indoctrination in German mosques happens, this is a missed opportunity - one of many.

All in all, "A Regular Woman" recounts an important story in a lackluster, box-checking way that does not do Hatun Sürücü's legacy justice. There is a German phrase to describe well-meant, but overly zealous and therefore ineffective measures - "Holzhammermethode", using a wooden hammer. It sums up this film quite appropriately.

I went to see it prepared for a standard protest movie, a corny. I left the theater angry, upset, horrified, and also elated. I was angry, horrified, appalled by the incredibly cruel, backward, and woman-hating slant of orthodox Islam. Although the movie follows the fate of Aynoor, the heroine who is murdered by her youngest brother to defend the "honor" of her family, the fate of the whole family follows a Greek tragedy course and curse, the curse of kowtowing to the ruthless, paternalistic religion that makes both the real victim and the perpetrators into victims .In the end, Aynoor dies because of love. She could have moved away, escaped her family. Or she could have actively involved the police in her plight. She did not do it because she loved her family and, despite all the evidence for the opposite, tried again and again to heal the wound between her, her parents, and her siblings. I was also elated because the movie was made so well. Professionally competent, terse, often understated, with excellent acting and directing throughout. And another cause to be elated - criticism of religion and ethnic lifestyles is not PC. The creators of this docudrama decided to take the risk and bring the terrible clash between Western humanistic values and those of immigrant fundamentalist Moslems into the public domain. Lets hope that the movie will prevent another death.

What does that even mean? Just a woman? Of course you can interpret it yourself, but if you ask me, this is about how a female is being viewed. And not just with a radical islamic family. Don't just get that out of the movie and feed your xenophobic fears and anxieties. No this is a general point that is unfortunately true - in the public eye, be it the media or society itself. See what recently happened to Meghan Markles interview and how it got under scrutiny. Certain individuals not believing what she said ... which is horrible on so many aspects.

But back to this, because while I read the general struggle of women, this does specify what it is to be under a very strict rule - or rather rules. How it is to grow up and be part of something radical - something that will not acknowledge you as an individual, but as part of something greater. Something that women are supposed to bend to and behave accordingly to.

It is irritating and I hope it does open the eyes of some, what abuse (not just physical, but also) females have to go through. What it does to them - and not all have the strength or the patience to keep fighting against injustices. It is upon all of us to not just look the other way. Like the scene in the bus - everyone minding their business. Which I understand to a degree - people don't know what a fight is about. But when a man hits a woman who obviously is not fighting back ... there is something inherently wrong with that picture ... and while the movie does not linger on it, the point is clear! No one is there to help ... the inevitable end (of a true story, that I was not aware of, but certainly isn't just a single case, but likely has happened to other women ... way too many of them) ... A gripping story that really is able to touch you - and as I said above hopefully gives you some food for thought

"Nur eine frau" is a real womens movie. It was made by a female director (Sherry Hormann), shot by a female cinematographer (Judith Kaufmann) and has a subject (honor killing) with mostly female victims. At the beginning of the film the dead of the lead character is showed using archive material, so there is no real tension in the usual sense of the word. Nevertheless the movie aroused different emotion in me.

The first emotion was disbelief. Daughter Aynur (Almila Bagriacik), just 16 years old, is forced into a marriage by the Surucu family. When the husband turns out to be violent and the, meanwhile pregnant, Aynur flees back to her family she is anything but welcome. Did she do everything her husband ordered her to do? Did she please him enough in bed? No wonder Aynur leaves the house and starts living on her own, That is the moment when the trouble really starts, because she is threatening the honor of the family.

In comparison with the Surucu family the five sisters in "Mustang" (2015, Deniz Gamze Erguven) are nearly living in a liberal family! Is this not a bit overdone? Is this not a caricuture? The answer is in the first place that the story is based on real facts. In the second place it is hard to make a "nuanced" film about such a horrible subject as honor killing. Of course not all Muslim families are like this, but this is shown in the film. The oldest brother is much more enlighted than his younger brothers. Finally, although I don't know the precise statistics, it is clear that the case of Aynur does not stand alone. In this context I would like to call attention to the various possible meanings of the title "Nur eine frau". "Nur" can be translated as "only" and stands for the low status of a woman in the fundamentalist version of the Muslim religion the Surucu family is adhering to. "Eine" can be translated as "one" and is meant to underline that Aynur is just an example is of a much broader problem.

After the disbelief came the curiosity (from the moment that Aynur left home until she was killed).

What was behind the fiercely hatred of the brothers (except the oldest one)? It was obvious that family was more important for them than the individual. But why was the responsibilty to keep the family honor high so unilaterally assigned to women? Was the hatred of the brothers purely religiously motivated or was it also a struggle to hold on to the power that men are in charge just because they are men and not because of their own merits?

Why didn't the women in the family (mother and sisters) support Aynur?

Why didn't Aynur see the danger, although she was warned by her oldest (and enlighted) brother?

This middle part of the movie raised many questions without giving a direct answer. Perhaps it is the most interesting part of the movie.

The end of the film made me very mad.

The way the assassination of Aynur is planned within the family and celebrated when it is done.

If you are convinced that killing your sister is nothing less than your religious duty, just bear the consequences. In stead of this the girlfriend of the murderer is put under pressure to produce a false alibi. She doesn't do this, after which she has to go undercover.

All in all the Surucu family is in my opinion not some disadvantaged family with retarded religious beliefs but operated more like a criminal organisation.

The emotions described above made it very difficult to assess the quality of the film.

The choice of the subject is courageous.

The middle part, raising more questions than giving answers was for me the most interesting.

Rauand Taleb, playing the youngest brother / murderer, did a very good job. He really scared me with the intensity of his hatred.