BallWubba Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

Andres-Camara When I see this film, I wonder why there is always talk of forgiveness in such extreme cases that society is not really willing to forgive. Anyone on the street if they were at the site of these characters, would not forgive what is forgiven in this movie.I'm surprised one thing about the movie. How well he sometimes uses ellipsis and how badly he uses them at other times. The latter are usually when you do not know how to get out of the moment in which you have gotten, makes an ellipsis and continues, however at other times, tells you several planes of a journey that no one cares to see. However good that is the ellipsis of the airport.The actors are very well. We have two types, those who forgive everything and those who only do bad things. But they are all very well in their roles. The problem is that being interesting the film and getting it is not slow if it makes it distant.He has a photograph that does not tell me anything other than thinking I do not use it.The manager, at least we have to thank him for not boring us. Other directors with this type of movies, they are very bored. He does not know how to make plans and many times he rolls it in a general way, which cools the situation and uses ellipsis halfway.Within the bad, the movie can be seen

SnoopyStyle In Bremen, Germany, elderly widower Ali often visits prostitute Yeter. After she's threatened by religious Turks to quit, she accepts Ali's offer to work for him at home. Her daughter Ayten is studying back in Turkey. Ali kills Yeter in a drunken rage and is imprisoned. Ali's son Nejat Aksu goes to Istanbul to support Ayten. Unbeknownst to him, political activist Ayten is on the run from the police and has arrived in Bremen. Student Lotte falls in love with the homeless Ayten. Lotte's mother Susanne disapproves. Ayten is deported and imprisoned in Turkey.This is a long slough. The beginning left me focused on Yeter. The scene of her with the two Islamic thugs is scary and compelling. Then she dies. She's the only one I actually care about at that point. That's the way the movie goes. It becomes a series of interconnected new characters that I have trouble catching up to. I try to care but the new characters aren't engaging enough. This is trying to be a series of poetic tragedies. I simply stopped caring after Yeter died.

samkoseoglu Improbable relations between countries, streets, airs and all, of which we can think vaguely presenting us a constant stance.When I first saw "The Edge of Heaven", this picture had spontaneously penetrated into my sense with its all superficiality, somehow.Regional sites that we experience ostensibly as we exist inside this vita which is, verily, so actual possessing today's articles.Political and sexual involution offers a great coast of a life of togetherness that is ongoing.Just happen in this picture and contact to grief, reprieve, jolt, expectations and complexity.

Pan32 The Edge of Heaven, its English title, a film by Faith Akin, explores the difficulty of human connection beset by geographical, political, but mostly human voids acting in random fashion which at the end, dramatize the advice of the philosopher, follow your bliss. The central characters, an old man and his son and a pair of mothers and their daughters, stumble through their lives in a struggle to realize their bliss in our age of rootlessness and political chaos. The only center in this is affection and its tenuous nature. It is the sole verity. While the film seems loosely constructed, it nicely balances the characters with the daughters at the center and the others, despite the powerful presence of Hanna Schygulla, in a secondary role. Indeed it is the daughters Nurgül Yesilçay as Ayten and Patrycia Ziolkowska as Lotte that are at the emotional center of the film and it only becomes alive when they are on screen. Indeed their sulfurous embrace in a crowded, smoky club was breathtaking.