неделя, 6 април 2008 г.

Филмът на ФАТИХ АКИН - ОТ ДРУГАТА СТРАНА

ОТ ДРУГАТА СТРАНА












Фатих Акин, плакат на филма "От другата страна" и Патриция Цилковска в ролята на Лоте-тази актриса ми допадна най-много във филма заради позитивността и отдадеността й на каузата да помогне на любим човек, иначе историято отново е убийствена със структурноспираловидно разказване. Повторения и вплитания, с много плейбеци-повтарящи се грешки на съдбата-човешко и спокойно-убийствено спокойно като усещане за грешките, когато сме от другата страна, защото една случайност може да бъде изтълкувана крайно-случайност е-европа никога не може да бъде изток-изтокът не може да бъде запад-богатите- бедни-запомних една мисъл във в тази връзка от "Домино" има три типа хора Бедни, богати и останалите по между им...Ти от кои си?




The Edge of Heaven, 15
The prostitute, her ageing admirer, the radical student, her lesbian lover and a scandalised mother... The second offering from Fatih Akin knits three stories into one elegant, complex drama
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By Jonathan RomneySunday, 24 February 2008
Context can make or break a film. The Edge of Heaven, by the Turkish-German director Fatih Akin, drew the short straw in competition in Cannes last year. Among a vintage stack of entries including Zodiac, 4 Months, 3 Weeks ... and Silent Light, Akin's thoughtful, somewhat novelistic drama was admired by some, discussed by few. Now Akin's film arrives in Britain during one of the release schedule's several silly seasons: in the week of Be Kind Rewind and the woefully flimsy My Blueberry Nights, The Edge of Heaven comes into its own as the substantial offering that it is.
Cannes wasn't entirely unkind to The Edge of Heaven: it did win the screenwriting award. Indeed, you could come away from the film thinking it was primarily a clever feat of script construction. But it's simply a detached, rather undemonstrative film – certainly compared with the one that made Akin's name, the 2004 Berlin winner Head-On, a tale of amour fou among ferociously charismatic outsiders. Its follow-up marks a neat shift of register, from Head-On's raging oratorio to pensive fugue.
The Edge of Heaven is divided into three parts: two introducing separate sets of characters, both announcing in their titles that two people are fated to die, while the third, entitled "From the Other Side" (also the film's German title), threads the stories together.
Akin's narrative is a meticulously woven fabric of accidents and chance encounters – and, just as importantly, missed encounters. In Bremen, Ali (Tuncel Kurtiz), an elderly Turkish man, takes a fancy to prostitute Yeter (Nursel Kose) and proposes a deal: that she move in and sleep with him on an exclusive basis. Menaced by two Muslim hardliners who warn her to change her ways, Yeter accepts Ali's offer, but things don't go rosily.
Ali's son Nejat (Baki Davrak), who lectures on German literature, goes to Istanbul, looking for Yeter's missing daughter Ayten (Nurgul Yesilcay). He doesn't find her, but we do, in part two: she's a radical activist on the run. Arriving in Germany to look for her mother, she meets Lotte (Patrycia Ziolkowska), a young student: the two women become lovers, to the dismay of Lotte's mother Susanne (Hanna Schygulla, Fassbinder's former muse), who once had radical leanings, but has now opted for a quiet life and unquestioning faith in governments. Turkey, Susanne argues, is about to enter the European Union: how bad can things really be there for a dissident like Ayten?
In fact, things are pretty bad one way or another in The Edge of Heaven: if tangled fate doesn't mess things up for people, the authorities, in Germany and Turkey alike, certainly will. Yet this is really an optimistic film, suggesting that it's the crossing of individuals' paths that offers hope for the world: it's all down to people's readiness to make exchanges, take generous risks, seize the moment.
Akin's drama is one of those intricate multi-stranders that have become the rage in recent years; perhaps it's no accident that the closing credits include thanks to Mexican screenwriter Guillermo Arriaga, who perfected this line of construction in his films with director Alejandro Gonzalez Inarritu.