De plein fouet

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 (.)

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!

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.

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!

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")