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Title: Die Fremde (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 | |
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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
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This kind of story is only really interesting if it is true to life. I don't know what the day to day texture of life tends to be like for Turks in Germany -- I don't even know if the characters are ethnic Turks or Kurds -- so I have to trust the movie. But I don't know whether I should. Yes, the outlines of the plot come from a true story. I can forgive the movie for ignoring that Germany and Turkey have both signed the Hague Abduction Convention, which would allow the father to get his son back. Yes, many parts of the Muslim world share the sense that honor is tied to being able to control one's women, and honor killings happen. Yes, some children in a family may acculturate differently than others. And, yes, it was nuanced. But that does not necessarily mean that the nuances are there in life rather than only in the director's head. Ingmar Bergman comes to mind, and Amos Gitai (some of whose movies I somehow forced myself to watch all the way through). My suspicions were also raised by When We Leave's contemplative quiet, which is common in this kind of art movie but not in real life. But, let me re-emphasize, I don't really know that the picture is a fantasy, I only suspect.