Lola et Bilidikid

Love, death, hatred, romance, fierce drag queens, coming out stories, underground club scenes... You'll smile, laugh and cry during this beautiful movie set in the Turkish Ghetto in Berlin.

This film accomplishes what it sets out to do, and it does so in a beautiful way. Not everyone can know what it feels like to be Turkish in Germany, and this movie communicates that feeling without sacrificing the feeling of being within the lives of the people it's about. Why do so few films achieve this?

Within its specificity, you also discover its universality. How many immigrants of color (from all over the world) in white-dominated countries (all over the world) will see something of themselves in this film? This film has the feel of a classic.

I know some people may feel the film is too depressing, or too dependent on gratuitous violence and on queer stereotypes that many of us may want to push into the past. Maybe we can reflect on the possibility that the stereotypes we may want to avoid aren't really a thing of the past, and the depression and violence the film refers to is quite real and current.

Excinting labyrinth of desires, illusions and freedom's skin. Exploration of ambiguous universe and many questions about facts, gestures or games without end. Fall from artificial paradises and slices of original silence. Bones of old wars and innocence of long expectation.

It is a cruel trip in a harsh way of life. Expresion of special search and everyday lost. It is interesting the relation of characters with Turkish memories. The image of run, the limits of refuge, the routine and the dialogs, the touch of disappointed and the hope of a chimeric future.

In fact, the atmosphere of "Lola + Bilidikid" is the same like in latest Romanians movies ("Stare de fapt", "Marfa si banii", "Pepe si Fifi", Prea tarziu", "Terminus Paradis"). Same moral crisis, same disillusion, same stupid games, same torpor.

But the essence of film is the search of Murat. Hero of Dostoievsky, he lives beyond the secrets or lies. He is projection of his personal discoveries and for him the dreams are more that fiction. He hopes.

Lola Und Bilidikid is a great success in terms of cinematography and storytelling; and dealing a little more with the friendship/relationship of Murat and the German boy, it could have very well been a masterpiece.

There's enough trouble between the Turks, at least the ultra-traditional Turks, and Germans in Germany. And watching this movie, you see how it gets a million times worse when one or more of the parties involved belong to an extraordinary walk of life in addition to being sided.

In fact this movie features quite a few stories at once, but doesn't lose the viewer since they're all related in some way, or the director has successfully managed to make them somehow related without losing out the plot. All the relationships, especially the one between Murat and his revolting brother Osman, and the one between the German gay guy and Iskender, are really well put. And the tiniest detail on the movie isn't missed. Even the little scene with the hooker is well done.

If you're a Hollywood enthusiast, leave this movie aside. You'll think it's sick and boring. But if you like good movies made with some feelings and culture rather than expensive effects, and those dealing with tender social issues, then you'll absolutely love it! It's only for those who can take heavy stuff, and have a good taste on cinema.

9/10 for Lola Und Bilidikid.

Lola + Bilidikid (Lola and Billy the Kid) written and directed by the dynamic E. Kutlug Ataman is an immensely interesting view of the lives of Turks in Berlin. The many characters introduced at a seemingly random fashion all are woven in the loom of Ataman, becoming one connected tapestry of ethnic clashes, humor, drama, and intensely moving views of family and love. From the quiet moments at the beginning to the unexpected ending this film dazzles with color, music, highly developed character development by some fine actors, and edge of the seat tension.

The Turkish subculture in Berlin is the hotbed for trouble between Turks and Germans. Add to this setting the fact that the film deals with the taboos of gay life, transgender and transvestite men, and the concomitant stresses of families who deal with these issues on a daily basis and the result is a film full of richly detailed stories.

Lola (Gandi Mukli), a Turkish drag queen has a lover Billy the Kid (Erdal Yildiz), a macho, closeted Turk who views his role as the Man and Lola as the woman and encourages Lola to have gender altering surgery so they can live as husband and wife back in Turkey. Murat (Baki Davrak) is Lola's baby brother, also gay, living with his mother and older brother, Osman (Hasan Ali Mete) who disowned Lola for his proclivities. After 15 years Lola returns home to demand his inheritance share to proceed with his sex change and reunites with Murat eventually revealing murky family secrets: the results are tragic to all involved. This is the main story of the film. But there are many others! There is a fascinating relationship between another Turk Iskender (Murat Yilmaz) who is picked up by an older elegant German Friedrich (Michael Gerber) whose affair meets with challenges from his aged but grand mother Ute (a marvelous Inge Keller!). And there is the gay bashing drama between young German lads and the Turks which instead of being simply an evil tragedy is a character study of why gay bashing occurs: the main perpetrator is ambivalent about his own sexuality and the way this story plays out is both gruesome and heartbreaking.

Yes, there are other side stories but suffice it to say that Ataman has created a film mesmerizing in content and production. It is one of those films that pleads to be watched again after the various stories have been told: knowledge of the ending events is yet more potent the second time around. Recommended for lovers of art films. In German with subtitles. Grady Harp