The Edge of Heaven (Auf Der Anderen Seite)

 

Director Fatih Akin

Akin with Hanna Schygulla at Cannes

winner of Best Screenplay at Cannes

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

 

 

THE EDGE OF HEAVEN (Auf Der Anderen Seite)                       A                                      aka:  On the Other Side                                                                                                    Germany  Turkey  (122 mi)  2007  d: Fatih Akin

This film opens and closes on a brilliant shot, each offering its own thematic observation, beginning with a car arriving at a desolate, run down gas station, where the traveler is called by the name of “brother” several times, a sign of cultural respect, but one that is multi-sided, as the film soon reveals.  The film’s literal title is On the Other Side, which better reflects the border between life and death as well as the geographical one between countries and the different ways of life.  Fatih Akin has written another one of those Kieslowski-like Three Colors Trilogy intersecting plot scenarios told in three chapter headings involving three families with mixed German-Turkish heritage, a Turkish father and son living in Germany, a Turkish mother living in Germany but separated from her long lost daughter, and a German mother and daughter, not necessarily seen in any correct order.  At some point in the film, all are connected, but what matters most is not the interweaving mathematical construction, which is interesting enough, but the deep-seeded connections that are established, some of which are profoundly moving, becoming a story of sacrifice and forgiveness, and the possibility of reconciliation.  The film highlights the differences between the two cultures in the first two shots, which couldn’t be more opposite, providing the viewer some idea as to the vast divide that exists between characters.   Historically, as the postwar French invited the Algerians, more than two million Turks were invited into Germany to work as “guest workers,” the exact same term President Bush has used for his proposed temporary resident immigration program with Mexicans, a proposal that went nowhere except to fan the flames of racist intolerance along the border states where they are building giant iron fences to keep the immigrants out.  While these host nations offer unskilled, low wage labor, it has been accompanied by deep seeded resentment in the mother country against the “foreigners” as well as complications arising when first generation offspring are actually born citizens, yet treated with racist scorn and disregard, where the harsh reality is that it’s easier to hate someone than to love them.  Evidence Fassbinder’s earlier German classic ALI:  FEAR EATS THE SOUL (1974) and the recent riots outside Paris that lasted for weeks.  Angry demonstrations by what are seen as radical fringe groups in both France and Germany (and now Turkey) are the norm and cast an altogether different face than the advertised brotherly unity of the European Union.  

Winner of Best Screenplay at the Cannes Film Festival of 2007, though the choice is not without controversy, as many have tired of an over-reliance on this revolving door style of storytelling these days, though few are as deeply compassionate as displayed here.  Tuncel Kurtiz, a prominent Turkish actor who worked with renowned Turkish director Yilmaz Güney (an unmistakable influence on Akin), is Ali Aksu, an Anthony Quinn, Zorba the Greek type character, an old Turkish man who retains his vigorous energy and charm, and his delight with the pleasures of women and drink.  When he finds a Fassbinderesque Turkish hooker in Bremen, Germany, Nursel Köse as Yeter, who may as well be the voluptuous Barbara Valentin in ALI:  FEAR EATS THE SOUL, he is so taken by her that he makes her an offer to come live with him.  After she is visited by some glum looking Islamic radicals who could make her life miserable, she thinks the old man’s offer is a safe choice, but it has tragic consequences for both.  Ali’s son is Nejat (Baki Davrak), somewhat reminiscent of French actor Romain Duris, an introverted college German professor who lectures on Goethe and becomes the closest thing to a lead character in this film, who is initially skeptical of his father’s relationship, but he grows fond of Yeter once he discovers the sacrifice she makes sending most of her hard-earned money home to Turkey for her estranged daughter's university studies, and eventually goes searching for her missing daughter in Istanbul, realizing the importance of the connection they never had.   Nurgül Yesilçay plays the daughter Ayten, a fiercely independent radical in Turkey who has revolutionary ambitions with militant connections, which after an unfortunate incident leads to a quick escape to Hamburg, Germany, finding herself alone and penniless, where she meets a young student Lotte (Patrycia Ziolkowska) completely at random, soon becoming love interests, despite the disapproving eye of her more conservative mother Susanne, Fassbinder icon Hanna Schygulla returning to the screen after a long absence, who truly rekindles her acting credibility here.  Ayten is arrested and confined for months before her asylum plea is denied, leading to her deportation and imprisonment in Turkey.  Lotte travels to Turkey, where she doesn’t speak the language, yet a chance encounter brings her together with Nejat, where the city of Istanbul actually becomes a prominent character, where it’s easy to get lost, as she gets caught up in the seemingly hopeless situation of freeing Ayten.  Once the principals are introduced, tragedy befalls each and every one, though in differing ways, but each loses something that may as well be the most important thing in their life. 

Influenced by Erich Fromm’s The Art of Loving, which was enormously popular on college campuses in the 60’s, this film is multi-layered and poignant, the second entry in an intended trilogy Liebe, Tod und Teufel (Love, Death and the Devil), with Akin's acclaimed HEAD-ON (2004) as the first installment, culminating in THE CUT (2014).  While not as explosive as HEAD ON, a radically offbeat punk love story, this quieter effort is still a daring work of probing intelligence on death and the power of redemption, where the extraordinary editing interweaves several stories together in a nonlinear narrative, using a revolving cast in a series of near-miss connections, becoming an exploration of transnational identity, which includes the difficulty of identity within exile, where the cruelty of the modern world, with its Kafkaesque absurdities, is simultaneously tearing us apart while also bringing us closer together.  Set in an expanding internationalized stage with a constantly-on-the-move camera style by Rainer Klausmann that beautifully captures with precision the finer details in each culture, which is an extraordinary expression simply by composition alone, adding authentic locations and music to a superb ensemble of actors, led by Schygulla who may surprise many with the depth of her performance, but she is given some of the best scenes in the film which occur near the end.  Her character beautifully transcends the cultural divide with her effortless style of understatement and also offers a refreshing look at what those self-absorbed kids from Fassbinder’s KATZELMACHER (1969) might have turned into forty years later, where she literally becomes the consciousness of the film.  The final shot has its own transcendent quality, which could easily be a shot from similar films such as Ozon’s TIME TO LEAVE (2005) or Nuri Bilge Ceylan’s CLIMATES (2006), yet shown here, coming on the heels of Schygulla’s personal transformation, offers profound insight, and an open-ended ambiguity.  It’s so easy to get caught up in our differences, which is at the root of KATZELMACHER, shown through simple, ordinary acts of societal prejudice and xenophobia, but what we have in common is all too often overlooked and forgotten, but not by Akin, called Fatih Fassbinder in some reviews, who skillfully navigates outside the jurisdiction of national boundaries and identities by knowing each so well and instead, despite the meandering journey, cuts a path straight to the heart of the matter, creating believable people who suffer unfathomable losses yet retain a surprising emotional resilience.  

Tori and Lokita (Tori et Lokita)

 

Directors Luc and Jean-Pierre Dardenne

TORI AND LOKITA (Tori et Lokita)                       B                                                         Belgium  France  (88 mi)  2022  d: Luc and Jean-Pierre Dardenne

The only thing worse than sex-trafficking, as depicted in Lukas Moodysson’s Lilya 4-Ever (Lilja 4-ever) (2003), is the human trafficking of immigrant refugees seeking a better life, who are surrounded only by vultures looking for a way to exploit their desperation, becoming a modern day slavery system, where in each case they’re valued only as human cargo worth dollar signs, viewed as subhuman, treated in the most despicable manner, where even the larger society around them perceives them as utterly worthless, as there’s a war being waged on refugees and immigrants worldwide.  It’s a sorry state of human affairs, and this plays out more like a horror film, a throwback to that caged-in feeling of ROSETTA (1999).  Ralph Ellison wrote about the invisibility of blacks in his breakthrough existential novel Invisible Man in 1952, but that same feeling applies to immigrants living on the margins in total darkness, unseen by the surrounding world that never give them a second thought, as they may as well not exist.  The Dardenne brothers are Belgium filmmakers who began their careers making documentaries about labor problems and social issues before turning to make feature films defined by their naturalistic aesthetic of social realism, yet their focus has always been on inequality in society and the sufferings of the poor.   This film looks at the plight of migrants in Europe, a theme also addressed in two recent Aki Kaurismäki films, Le Havre (2011) and The Other Side of Hope (Toivon tuolla puolen) (2017), where they seem to fall through the cracks, not really taken care of by the state, instead they are stuck in a desolate no man’s land territory, drawn into illegal activity to pay debts and send desperately needed money back home, subjects of prey from an omnipresent criminal element that exploits their precarious vulnerability.  Tori (Pablo Schils) and Lokita (Joely Mbundu) are two young African migrants in Belgium played by non-professionals.  Tori, who is about 11, is from Benin and has documents that allow him to stay in Belgium, but he lost his parents in the perilous journey to Europe where he met 16-year old Lokita, who was herself smuggled out of Cameroon so she could send money to her family back home.  They have developed an unwavering friendship, having only each other, as otherwise they are all alone in the world.  The utter absurdity of their situation is that Lokita is subject to deportation, and will only be allowed to stay if she can prove she is Tori’s sister, so the two of them rehearse their stories before the immigration authorities about where they’re from and how they lost their parents, but of course, they don’t have a single document to prove they are related.  When a DNA test is proposed, TORI AND LOKITA - EXCLUSIVE CLIP - YouTube  (1:31), they’ve run out of options, leaving only desperate alternatives.     

While there are other films on the subject told in a variety of styles, like Hubert Sauper’s We Come As Friends (2014), Wim Wenders’ documentary 2015 Top Ten List #4 The Salt of the Earth (2014), Jacques Audiard’s Dheepan (2015), or Joanna Kos-Krauze and Krzysztof Krauze’s Birds Are Singing in Kigali (Ptaki śpiewaja w Kigali) (2017), this one centers exclusively upon the character of the two young protagonists, as everyone else is a faceless entity, shot in the minimalist Dardenne style using a handheld camera from cinematographer Benoît Dervaux that casts an unflinching eye on their daily lives, scrutinizing the details of faces, gestures, and glances.  As the only blacks living in a sea of whites, they develop an intensely personal and profound friendship, allies in a struggle against brutal horrors, where they are exposed to a shady underworld of dangerous men who routinely take advantage of them.  Arguably the angriest Dardenne film, this pits the corrupted innocence of youth against the sociopathic indifference of adults who have no problem subjecting them to barbaric cruelty, accentuating the growing suffering in increasingly inhospitable settings, as it’s all about self-interest, where the tragic circumstances of these young lives are routinely overlooked, viewed as outcasts, where their lives are discarded in the blink of an eye, valued by an uncaring public as utterly worthless and inconsequential.  The struggle to stay alive is living under the pressure of constant threats, as everyone wants a piece of them, from the African gang that smuggled them out of Africa, continually terrorizing them for more money, to her family in Africa that needs more, to the Albanian criminal chef Betim (Alban Ukaj) who uses them to make his nightly drug deliveries.  Alternating between hope and fear, they make extra cash singing karaoke in the restaurant, Tori and Lokita / Tori et Lokita (2022) - Clip 1 (English subs) YouTube (51 seconds), while Lokita is also subjected to the humiliation of routine sexual assaults, where any payment received is viewed as a favor.  A very unpleasant watch, the traumatic and terrifying experience is even worse due to their young ages, yet what options do they have?  A devastating indictment of the immigration system and European democracy, as European countries have routinely shut their borders and doors, turning their backs on these young lives, utterly defenseless human beings who are preyed upon by criminals and lowlifes, a by-product of government cruelty and indifference.  Both happen to be extremely enterprising, where this is a story of an unbreakable friendship, putting a human face on meaningless numbers and statistics, where waves of migrants have been subjected to extreme violence and death, treated in the most inhumane and despicable manner, surrounded only by grim possibilities.     

The impetus for the story were newspaper articles the directors read about how many unaccompanied migrant children come on their own, with no parents, disappearing from emergency shelters and housing groups without a trace, exposing the extreme solitude that they live through, and the illnesses that result from their isolation from their families, concluding that they were falling into a crime and drug network, leading to tortures, and even assassinations of young teenagers, with so many of them ending up dead.  Unlike other Dardenne films, this one actually veers into thriller territory when Lokita is separated from her friend for three months and locked up as a prisoner in a dingy industrial warehouse that houses a secret illegal cannabis operation, framed as a high risk experience in order to receive forged documents, her phone taken from her so she can have no contact with the outside world, with food delivered once weekly, as she is given detailed instructions on how to properly care for these plants, where the irony is the plants are treated so much better than she is.  Distressed and alone, exacerbated by her growing sense of isolation, cut off from everything she knows, she is consumed by loneliness, deeply missing the companionship of her friend, at one point turning off the TV and simply staring at his image.  Tori feels the same way, with Betim expanding his role in running all his drug routes, an inconceivable job for such a young kid, where it’s easy to be taken advantage of on both ends, from the buyer and the seller, forcing Tori to hatch a plan, where the guts and sheer originality to carry off such an outlandish effort defies credibility, yet it’s driven by something we come to understand, as their loyalty and devotion to each other is unmistakable.  While their loving spirit should be rewarded and appreciated, the hardened Mafiosi men they’re dealing with have no interest in sentimentalities, as they’re void of any feelings whatsoever, where money is all that matters to them, a subject that was briefly touched upon in The Unknown Girl (La Fille Inconnue) (2016).  Despite keeping such a low profile, these two are living targets at every stage, having to endure moving from conflict to conflict, where the trials they face are staggering, with no friends or allies anywhere, only enemies who want to use them for their own unscrupulous schemes, while they stay safely in the background, using kids to carry out their criminal enterprise.  Descendants of European immigrants never had it easy, but they could find work and eventually become citizens.  That is not the case with Third World migrants of today in Europe, as they’re simply not offered the same opportunities, where the harrowing abuses of black working refugees in Western Europe are well documented (Are your tinned tomatoes picked by slave labour? | Italy, or Thousands of refugees and migrants suffer extreme rights ...), often living in close quarters packed inside small concrete huts covered with corrugated sheets, where the role of organized crime has only increased.  As a result, their lives are more likely to be short and tragic.  The Dardennes have created a moral drama that rages against social injustice, but its minimalist simplicity undermines any developing complexity, operating more on an emotional level, where viewers can identify with what’s happening to our struggling combatants and loathe the system that ignores their needs, but voters in countries around the world are increasingly growing fearful and following step in a lethal combination of xenophobia and nationalism, turning inward, thinking only of their own, vociferously rejecting outsiders like an invading plague.