Prelude-The exile
world is finally drawn into a straight line in accordance with the principle of conservation of two, all living beings are lined up like birds on a wire, firmly grasping this wire, otherwise any negligence may lead to irreversibility. Deviate. Those who are still clinging to the line say this is a dead end.
But what if it is a strong will?
The man told the girl with a blank face that he couldn't die with a vertical wrist cut, and he had to cut deeply along the artery. The girl asked the man to touch her nose which was broken by her family and begged to marry him. These are two people who strayed early, one only had to sink in memories and sadness aimlessly, and the other bet on a future with nothing, because a promise and two rings came together, and their attitude was decisive.
Self-exile is the last dignity of a person, a touch of paleness that can never be exaggerated. It is guarded by others in a disdainful posture. Among others, it cannot be illuminated or warmed. A man and a girl, neither is someone else's redeemer, they just saw their own shadows within the distance of being able to look at each other. What people see in others is always more comprehensive and thorough, but similar emotional responses allow people to show the other person's lack of compassion and love. The soul became so gradually heavier, it was finally maintained.
Melody-Subversion and Return
This movie has a framework and constitution. The whole film uses Turkish folk music to link the content before and after. The segments always maintain continuity but at the same time have an independent style. Shown in the specific plot is the lively Turkish wedding. The director’s detailed and slightly cumbersome restoration is not just to satisfy the audience’s curiosity about exotic cultures. This wedding is permeated with Turkish passion and the rigor of German civilization. Let it be more formal and sacred. Looking at the bride and groom in form, getting married is just a kind of need that you want. This kind of contrast has become the most absurd and sharp subversion of tradition in the dance they put in at the wedding. As for the subsequent love, is it also outside the form?
Realistic love expresses directly and swiftly, and sex is an important concrete symbol. Whether it is Freud's interpretation of the virgin complex or Zhang Ailing's so-called "woman's love through the vagina", at least from the female side, it shows that love and sex are inseparable. Love and sex in movies are another form. According to the agreement with the man, the girl can freely associate with other opposite sexes. Indulgence, promiscuity, she practices love with fantasy with sex. I don’t know when a girl fell in love with a man. The director left a lot of the desire and suffering for love to the man, whether it was the man’s lonely face after crazy sex with his lover, or the man rescued the girl and was kicked and beaten into one. The wedding ring that has been flashing during the group, the man’s love is so intense that he can’t breathe first, and sex is the most primitive and effective way to release. The girl's emotions are broken up into different details, but the series connection just fills in the feelings that are actually riddled after cooling, and makes them complete. And when the man and the girl embraced frankly and were about to enter the girl's body, the girl trembled and said that if we did this, we would be a real couple. Contrary to Wang Jiazhi’s passive and desperate love born out of sex, her love comes from life’s little running-in and spiritual dependence on men. When love finally drifts and needs to be made complete by the combination of the body, she can Will hesitate whether it's time to entrust it all. This kind of love is continuous and powerful, but later the girl gave up herself before love. Except for external factors, the strength of love is too far apart from her own weakness, she can't afford it, but this is something later.
The love in the film is like a shocking wound. What is cleaned and exposed is the most real and fragile part, and finally returns to the original definition of love.
Epilogue-Lost.
If hope is still like the light in the process of breaking the cocoon in the first half of the film, as the character's struggle gradually becomes clear, then the sudden imprisonment of the man quickly extinguishes it, and then the story of the girl in Turkey is It gradually cooled in the darkness where it could not smell the hope, and even had a bitter taste. Seeing each other again is already a vicissitudes of life.
There is another interpretation of the fall of the girl, which is also the background of this film, which is different from other similar themes of movies-immigration.
The Turkish nationality is the foreign nationality that accounts for the largest proportion of the German population. The director Faith Akin himself is a German Turk. The man in his story is a Turk who moved to Germany, and the girl is a Turk who grew up in Germany. They appear in the movie. Those Turks here constitute a true portrayal of this special group.
Migration is a geographical concept, but it must include the process of adapting people and the new environment from strangeness to running-in to integration. The influence of the latter far exceeds the significance of the activity itself. People's sense of isolation loses restraint in the alternation of the old and new environments, and is infinitely magnified. We should all have had this feeling before, changing schools, relocating, and going to another place. . . The change of the environment, even if it is small, makes people feel at a loss. It requires a process of adaptation. Otherwise it is lost.
As for immigration, the difference of various factors makes this process difficult and long. The lack of identity and cultural assimilation coexist. As a "second-generation immigrant", the girl grew up in German culture but was bound by Turkish traditional consciousness. She initially chose to defect. After being forced to return to his parents' hometown, the huge strangeness and gap quickly engulfed him. She is a stranger with obvious characteristics in the eyes of the Germans. In Turkey, she can only find her presence in drugs. The soul without belonging is finally lost on the streets of Turkey with the shaking lens.
The movie is heavy and feeble, just as his slogan-like title can only give people a short-term uplift. In the end, the man failed to wait for the girl, and the car started slowly, and the story will continue in the future, but we don't know if anyone will go forward courageously. Maybe like all the regrets and helplessness in the world, after going through the tune of joys and sorrows, the song ends up and fades away at any time.
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