The Stranger

The Stranger

The Brave

               Genre: Drama
               Berlin, Istanbul, abortion, escape, kidnapping, children, Berlinale 2010, honor killings, women’s shelter

The curse of Honor

  She is a stranger in both worlds: In Turkey, because they no longer want to come to terms with her loveless and violent marriage with Kemal (Ufuk Bayraktar) and together with her son Cem (Nizam Schiller) flees to Germany. And even there, where she grew up, with parents in faraway Berlin meets their decision to not stand by Kemal secede incomprehension, the wishes of the daughter for freedom and independence in the center, but the honor they had allegedly violated. This Umays parents (Derya and alabora Settar make Tanriogen) at first glance does not seem in any way a devout family. Besides the parents, it is primarily Umays older brother Mehmet (Yigit Tamer), who cares about the reputation of the family, while the younger Rana (Almila Bagriacik) soon gets to feel what it means to have such a “dishonorable” sister . Because of Umays escape from the marriage threatens to burst her own wedding, what the external pressures on the family even further strengthened. Only Acar (Serhad Can), Umays little brother, still feels connected to her, the outcast.

Maybe everything would turn out well, but Kemal insists that Cem, their son who grows up with him in Istanbul what Umays meets with vigorous opposition. And that’s not all: The young woman will simply not accept that the family admits this absurd code of honor more important than the love of her daughter and sister. Even as they fled into the women with Cem and later Stipe to know with whom they once could imagine a future together, they can not leave the family, always take back from contact with them, pleading for love and loyalty. In the dice have already been taken, the (male) Family Council decided long ago, as the family’s honor can be restored.

Repeatedly to shake the media reports on so-called honor killings, the German media and public opinion and solidify the standing of those who Islam as a religion anyway critical. Of religion in this film is hardly ever mentioned. Honor is primarily a diffuse brazen, and above all unwritten rule that hovers menacingly like a dark curse from ancient times through the parties and the subordinate themselves to almost all unconditionally, without ever questioning it. As in an ancient tragedy, it is the rebellion of the protagonist, which brings the inevitable mechanism in motion. But at the same time, we definitely feel that an exit from this inevitability would be possible when love and affection and not abstract, overarching principles to the standard of conduct would be.

With her latest role as Umay has finally accepted as Sibel Kekilli actress of the first order established. It is the reward for her perhaps the most difficult role. It would have helped to stand up Kekilli long been in the organization Terre des Femmes on violence against Muslim women. That their is the issue of the heart, one believes the game can read from her committed to running against the rigid traditions, against bigotry and unwritten rules you seem emotional after the forced ride against the wall of the second representational nature of being. And yet it also dominates the soft sounds, the quiet despair, tenderness and courage of a young woman who goes her way and the rebels against her fate, against all odds.

To praise, but only the lead actress and reduce the film on their performance to fall short. Gone through the drama, the Bank is well staffed and sensitively directed, in particular, notice the quiet scenes in which family Umays almost agreed with each other without words, where hierarchies and the fatal mechanisms of an antiquated concept of honor by looks alone are striking. Look at all possible to establish when the stranger at the center, over her affection and hatred, dependency relationships and hidden desires.

That the substantial center of attention Feo Aladag staging and the pictorial solutions of the camera are Ms Judith Kaufmann, is not a coincidence, but part of the concept and message of this haunting film: the stranger is above all an urgent request to the exact look. And expand the successful attempt, the media filtered, controlled and alienated view of honor crimes by another emotional facet, which focuses on the perspective of the victim, but also emphasizes their strength and independence. It’s that balance, especially that makes the film a unique, extremely intense, and above all very, very important work that is branding strongly to mind.

(Joachim Kurz)

Title: The Brave Country of production: Germany Year of production: 2010 Length: 119 (Min) of material: ( #) Majestic Filmveleih

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