| Cast overview, first billed only: | |||
| Birol Ünel | ... | Cahit | |
| Güven Kiraç | ... | Seref | |
|
|
Zarah Jane McKenzie | ... | Barfrau in der Fabrik (as Zarah McKenzie) |
|
|
Stefan Gebelhoff | ... | Nico |
|
|
Catrin Striebeck | ... | Maren |
|
|
Francesco Fiannaca | ... | Mann am Tresen |
|
|
Mona Mur | ... | Stammkundin Zoe Bar |
| Sibel Kekilli | ... | Sibel | |
| Ralph Misske | ... | Patient 1 (Psychiatrie) | |
| Philipp Baltus | ... | Patient 2 (Psychiatrie) | |
|
|
Hermann Lause | ... | Dr. Schiller |
|
|
Karin Niwiger | ... | Kassiererin (Psychiatrie) |
|
|
Demir Gökgöl | ... | Yunus Güner (Vater) |
|
|
Cem Akin | ... | Yilmaz Güner (Bruder) |
|
|
Aysel Iscan | ... | Birsen Güner (Mutter) |
In 'Gegen die Wand' Cahit, a 40-something male from Mersin in Turkey has removed everything Turkish from his life. He has become an alcoholic drug addict and at the start of the movie wants to end it all. Sibel a 20-something female from Hamburg wishes to please her Turkish parents yet yearns for freedom. She has had her nose broken by her brother for being seen holding hands with a boy and yet she can not break her mother's heart and run away. She too attempts suicide and she first approaches Cahit there at the Hospital. Sibel asks Cahit to marry her, as she believes this to be the way out of her parent's house. She promises Cahit that their relationship will be like roommates, not like a married couple. The film follows Sibel and Cahit as they get married, become closer and eventually fall in love. Written by Serena P.
I saw this film yesterday for the second time (I originally saw it last year) and loved it as much as I did the first time. This is probably my favourite film in the last 12 months so hence the need to say my bit. There is a wonderful, powerful, visceral quality to this film which is extremely rare in any art-form (lets be honest), so credit needs to be placed where credit is due - and it is due in huge amounts here. 'Head On' takes you on an emotional journey to the edges of the human experience, tempered by an nihilism and a soul-searching despair that feels all too real. These are not so much characters but real people with real dilemma's, and their life experiences oozes from every visible pore. The two central performances are bloody amazing and a reminder of what real acting (and characterisation) is all about. The direction is profound, not to mention the wonderful soundtrack (the Birthday Party track much appreciated!!). I can't say anything but complimentary things about this film and in my humble opinion is a modern-day masterpiece. On the small off-chance that the actors/producers/ director or anyone connected to this film reads this, congratulations on a fantastic piece of film-making!