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Title: When We Leave (2010)
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| Cast overview, first billed only: | |||
| Sibel Kekilli | ... | Umay | |
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Nizam Schiller | ... | Cem |
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Derya Alabora | ... | Halime |
| Settar Tanriögen | ... | Kader | |
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Tamer Yigit | ... | Mehmet |
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Serhad Can | ... | Acar |
| Almila Bagriacik | ... | Rana | |
| Florian Lukas | ... | Stipe | |
| Nursel Köse | ... | Gül | |
| Alwara Höfels | ... | Atife | |
| Ufuk Bayraktar | ... | Kemal | |
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Blanca Apilánez | ... | Carmen |
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Rosa Enskat | ... | Manuela |
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Gümeç Alpay Aslan | ... | Zeynep (as Gümec Alpay) |
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Ayla Arslancan | ... | Ayten |
German-born Umay flees her oppressive marriage in Istanbul, taking her young son Cem with her. She hopes to find a better life with her family in Berlin, but her unexpected arrival creates intense conflict. Her family is trapped in their conventions, torn between their love for her and the traditional values of their community. Ultimately they decide to return Cem to his father in Turkey. To keep her son, Umay is forced to move again. She finds the inner strength to build a new life for herself and Cem, but her need for her family's love drives her to a series of ill-fated attempts at reconciliation. What Umay doesn't realize is just how deep the wounds have gone and how dangerous her struggle for self-determination has become... Written by Independent Artists Filmproduktion
Umay leaves her abusive husband Kemal in Istanbul with her son Cem to go home to Germany. Her father Kader is concerned about the family's honor. The older brother Mehmet is angry. The youngest brother Acar is scared but kind. Kemal rejects Umay but wants his son Cem back. As Kader and Mehmet try to force the situation, Umay calls the police and she escapes with Cem to a women's shelter. She finds a job with a supportive boss and a new boyfriend. Her younger sister Rana is rejected by her fiancee's father due to the situation. Rana tells her mother that she's desperate to marry Duran because she's secretly pregnant. Kader has to pay off the father to get them married. Umay shows up unexpectedly at the wedding and has a meltdown. Even Acar is forced to confront the lost of family honor.
The portrait of the lost of family honor is devastating. The pressure feels real. The need for Umay to reconnect with her family does feel unreasonable and excessive. I doubt a reasonable Umay would show up at the wedding. After the wedding, it seems impossible for her to go to the hospital especially carrying her son with her. Then the final scene has too many twists. It only accentuates the twisty manufactured nature of the writing. Writer/director Feo Aladag needs to tone down some of the more melodramatic developments in the last act.