Head-On

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 .

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!

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!

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.

"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.