7.9/10
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Head-On (2004)

Gegen die Wand (original title)
With the intention to break free from the strict familial restrictions, a suicidal young woman sets up a marriage of convenience with a forty-year-old addict, an act that will lead to an outburst of envious love.

Director:

Fatih Akin

Writer:

Fatih Akin (book)
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3,994 ( 1,164)

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25 wins & 13 nominations. See more awards »

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Cast

Cast overview, first billed only:
Birol Ünel ... Cahit
Güven Kiraç Güven Kiraç ... Seref
Zarah Jane McKenzie Zarah Jane McKenzie ... Barfrau in der Fabrik (as Zarah McKenzie)
Stefan Gebelhoff Stefan Gebelhoff ... Nico
Catrin Striebeck Catrin Striebeck ... Maren
Francesco Fiannaca Francesco Fiannaca ... Mann am Tresen
Mona Mur Mona Mur ... Stammkundin Zoe Bar
Sibel Kekilli ... Sibel
Ralph Misske ... Patient 1 (Psychiatrie)
Philipp Baltus ... Patient 2 (Psychiatrie)
Hermann Lause Hermann Lause ... Dr. Schiller
Karin Niwiger Karin Niwiger ... Kassiererin (Psychiatrie)
Demir Gökgöl Demir Gökgöl ... Yunus Güner (Vater)
Cem Akin Cem Akin ... Yilmaz Güner (Bruder)
Aysel Iscan Aysel Iscan ... Birsen Güner (Mutter)
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Storyline

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.

Plot Summary | Plot Synopsis

Taglines:

Raw, Powerful, Extraordinary... A Love Story of Surprisingly Epic Proportions! See more »

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated R for strong graphic sexuality, pervasive language, some brutal violence and drug content | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site [Germany]

Country:

Germany | Turkey

Language:

German | Turkish | English

Release Date:

11 March 2004 (Germany) See more »

Also Known As:

Head-On See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

In the opening scenes, where Cahit appears to be completely drunk, Birol Ünel isn't acting. He really was completely drunk, having been drinking solidly whilst waiting hours for the scene to be set up. See more »

Goofs

The psychiatrist at the beginning of the film tells Cahit about a song by the band The The containing the line "If you can't change the world, change your world". The actual quote (from the song "Lonely Planet", included in the album "Dusk") is "If you can't change the world, change yourself". See more »

Quotes

Cahit: I'm sorry I ran off before.
Sibel: That's OK.
Cahit: I'm a mental case, you know?
Sibel: [Kisses Cahit]
See more »

Crazy Credits

When it comes to Special Thanks, there's a name: Arsen Lüpen. Arsène Lupin is a fictional character, created by the French writer Maurice Leblanc. See more »

Connections

References Agir Roman (1997) See more »

Soundtracks

Ciftetelli
(Trad.)
Performed by Aytun Ede
See more »

Frequently Asked Questions

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User Reviews

Splashy chronicle of a generation in revolt against tradition (worth watching)
24 January 2005 | by Chris KnippSee all my reviews

Head On (Gegen die Wand), winner of the top prize "Golden Bear" at the 2004 Berlin Festival, is occasionally interrupted by a panoramic shot of a singer performing in front of a small Turkish orchestra on the banks of the Bosphorus across from Istanbul. It's a simple, at first incomprehensible, little device that provides punctuation and clarity amid the chaos and melodrama that otherwise dominate this story of a Turkish man in his forties and a twenty-year-old Turkish woman who meet in a psychiatric facility in Germany when both have attempted suicide -- he by crashing his car into a wall ("head on"), she by slitting her wrists. Cahit Tomruk (the sublimely attitudinizing Birol Ünel) is a purposeless rock 'n' roll loving boozer with a dead-end job collecting bottles at a club, and Sibel Güner (the wiry, intense Sibel Kikulli) is a young woman with conservative Turkish parents who wants to escape family pressures.

Both are total drama queens and both are German-born Turks. Cahit is more assimilated; his Turkish isn't even good. Sibel figures if he'll agree to marry her that'll get her away from her family. This is the irony of their situation: she must capitulate to the conventions of their culture in order to gain some freedom from it, and he must capitulate to society in order to get some sense of purpose. So they do get married -- he somehow passes muster with the stuffy family, baulking all the way -- and they eventually even fall in love. Her joie de vivre is exactly what he needs, and she's essentially just as wild in her way as he is in his -- but his nihilism and violence continue unabated and so does her promiscuity, and his brutal attack on one of her one night stands leads to jail and scandal, which in turn forces her to go to Istanbul. While he's incarcerated she writes him sustaining letters from Turkey -- their relationship, like the staid orchestra on the Bosphorus, is a stable element amid the surrounding chaos -- and after jail he goes to Turkey to find her.

To say this turbulent, brightly colored, lurid story is a "realistic picture of Turks in Germany" would be a total distortion of the truth. But somehow the situation of Cahit and Sibel reflects the unstable moods this half assimilated, half alien population experiences, and however melodramatic and unresolved the saga is, the two main characters are very well realized. The actors are strong, especially Birol Ünel, whose charismatic brooding and ravaged good looks make him irresistibly watchable. Both feel real to us -- he sardonic and gloomy, she dangerously spirited and full of life-- despite her dramatic suicide attempts, of which there's more than one. The story, as much as the images through which it's told, is both dark and vibrant.

We need the Brechtian, Greek-chorus device of those orchestral interludes on the Bosphorus, though: without an occasional break the drama and darkness would be too much. We also need to go with the flow of this movie, and not expect it to be more polished or more organized, or even better looking, than it is. It looks unlike most films we're seeing now, but that doesn't mean the cinematographer hasn't done the best possible job. What it has is life, tumultuous with incident, strong personalities, and a milieu we've not seen before. There's also a loud, authentic-feeling rock-pop soundtrack and a cunning contrast between Cahit's punk-rock sensibility and Sibel's love of good grooming and dance. Arguably the movie is too long, but that length gives it the feel of a saga, which it must have, because that's what it is, the confused, tawdry epic of a generation. Like all first films by a whole subculture, it has a lot to talk about. When Sibel and Cahit discover they still love each other, after everything, it's the Turkish Germans discovering that they have self-worth. The last scenes are open-ended: this generation's future is anybody's guess.

Seen in Paris 17 September 2004. Opening in the US in January 2005. First German film to win a Golden Bear in Berlin in eighteen years.


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