Cannes. The Edge of Heaven.
"Director Fatih Akin
continues his insightful exploration of the things that divide and bridge different cultures and generations in his absorbing In Competition
film The Edge of Heaven
]," writes Ray Bennett
for the Hollywood Reporter
(where Scott Roxborough
interviews Akin). "Like his 2004 Berlin Golden Bear winner Head-On
, the film deals with Turkish folk living in Germany but this time he brings his story back to Istanbul."
"The Edge of Heaven
, evenly paced and featuring a range of intelligent, charismatic characters about all of whom an entire movie could be made, abounds with personal and political dramas," writes the Telegraph
's Sukhdev Sandhu
. "It tackles, without ever simplifying or trying to resolve too neatly, issues of diaspora and cross-generational kinship. It also asks timely questions about the impact that possible entry into the EU will have on Turkish people. But with so many compelling individuals and relationships, it's frustrating that Akin hasn't given himself time to pull them together more convincingly."
"The point at which a good director crosses the career bridge to become a substantial international talent is vividly clear in The Edge of Heaven
, an utterly assured, profoundly moving fifth feature by Fatih Akin," writes Variety
's Derek Elley
. [Excuse me a moment... eeeeYesss!
Ok, sorry.] "Superbly cast drama, in which the lives and emotional arcs of six people - four Turks and two Germans - criss-cross through love and tragedy takes the German-born Turkish writer-director's ongoing interest in two seemingly divergent cultures to a humanist level that's way beyond the grungy romanticism of his 2003 Head-On
or the dreamy dramedy of In July
(2000). Robust upscale biz looks a given."
In German: Die Welt
runs Cannes diary by Akin
himself; for non-German speakers, it's worth Googlizing
As Andreas Borcholte
reports for Spiegel Online
, Hanna Schygulla
's said, "He reminded me of the young Fassbinder
"Those expecting the punkish, masochistic energy of Head-On
, with its car-crashing and wrist-cutting and club-hopping, may be a bit surprised by this new film's more measured and contemplative tone," writes Mike D'Angelo
. "All the same, Akin's keen intelligence, his sensitivity to cultural dislocation and his skill with actors are all still very much in evidence."
"The plot contrivances are elaborate, but the heartfelt compassion and intelligence of the direction are what count," writes the Guardian
's Peter Bradshaw
takes note of a couple of very positive reactions in the German press.
"[W]hile Akin's heartfelt political intentions are laudable, the under-developed characters seem to be more at the service of the intricate plot, rather than the other way around," writes Anthony Kaufman
"[T]he movie forces its largely believable and sympathetic characters into an increasingly ludicrous web of contrivances," writes Dennis Lim
at IFC News
Updates, 5/25: Camillo de Marco
interviews Akin for Cineuropa
"Akin's work is so serene, contemplative and yet so complex that it bypasses any simple comparisons to recent convoluted choral works such as Crash
and offers pleasing touches of Kieslowskian non-coincidences, though Akin is certainly not on the same level as the legendary Polish director of the Ten Commandments
and the Three Colours Trilogy
- at least, not yet," writes Boyd van Hoeij
. "As an acting showcase, Auf der andere Seite
is outstanding. Hanna Schygulla gives one of her most riveting performances in years, while the Turkish ensemble is excellent all-round."
"After half a century of immigration, every new generation of Turks [in Germany] is still, to a large extent, a first generation." That stroke is painted far too broadly, but Christopher Caldwell
explains what he actually means in a piece for the New York Times Magazine
Update, 5/31: Peter Beddies
has a terrific interview with Akin in Der Welt
(and in German).
Cannes @ 60. Index
Posted by dwhudson at May 23, 2007 10:06 AM