The Edge of Heaven (2007)

3.5

DRAMA
U.S. Release Date: 05/27/07 (Cannes Film Festival)
Running Length: 122 Minutes
MPAA Classification: No Rating
Theatrical Aspect Ratio: 1:85 : 1
Cast: Nurgül Yesilçay, Nursel Köse, Patrycia Ziolkowska, Tuncel Kurtiz, Baki Davrak, Hanna Schygulla
Director: Fatih Akın
Screenplay: Fatih Akın
Cinematography: Frank Griebe 
Music: Shantel
U.S. Distributor: The Match Factory

Review by: Carter Moulton

03/23/09

Auf der anderen Seite, or The Edge of Heaven, is a near-four-star film with a four-star ending. Faith Akin wrote and directed the work, which inspects human connections, motivations, and situations—and how they are redefined over time—with a poignant magnification. Left out are the clichéd twists and turns of intersecting storylines, replaced by collage of colors that, when blended on celluloid, speak of human’s melancholic struggle. I’m referring to color both literally and figuratively here; the picture’s mise-en-scene is beautiful to observe, as are the characters emotions.

The film is told somewhat linearly. Nejat Aksu (Baki Davrak) and his father Ali Aksu (Tuncel Kurtiz in a very human performance) live together, but conditions become strained when Ali invites Yeter (Nursel Köse), a “lady of easy virtue” as she puts it lightly (prostitute), to live with them. Nejat gets to know Yeter better and begins to admirs her—she gives almost all of her money to her daughter’s university education. Situations arise and Yeter experiences a sudden death that, because of its nature, separates Nejat and Ali. Nejat then sets out for Istanbul in search of Yeter’s daughter Ayten.

Photo © The Match Factory

Ayten is a rebellious political activist who is constantly on the run from the Turkish government. She finds herself in Germany, where she meets Lotte (Patrycia Ziolkowska), a young woman who seems in need of a friend—she’s pretty quick to invite Ayten to stay with her. This invitation causes tension between Lotte and her mother, Susanne. These are the six principal characters. Events occur that bring all of the stories together, but Akin, who could easily wrap the film up with bow, leaves things untied, leaving us curious but not frustrated.

Death is a prominent theme; rightfully so, considering the film’s title. It’s this title that, for me, gives the film a touch of genius. So many aspects of the film—from the cinematography, to the theme, the dialogue and the ending—convey the “edge of heaven” message in so many ways. All of the storylines are on the “edge” of colliding with each other. Susanne, in a desperate, riveting sequence framed from the ceiling of a hotel room, is on the “edge” of losing her wits about…I won’t give it away.  The world is literally on the “edge of heaven,” and certain deaths exhibit this. The ending features a scene on the “edge” of the shoreline—it truly is “heaven”. I’ll definitely want to give this a second viewing to hunt down every subtle reference to the title.

This movie feels like a masterpiece, an honest and substantial painting. The entire production has a mystical, reflective poetry to it, despite its rather sorrowful content. My only problem was that I found myself cutting connections at times, especially during the Ayten-Lotte storyline. The film is at its strongest when Ali and Nejat are on screen, and during the second half of The Edge of Heaven, their appearances are few and far between. Maybe that’s why the ending struck such chords with me. Nejat goes to reconcile with his father. It’s the most peaceful credit sequence you're likely ever see.