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Head-On (2005)
Tomatometer
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Reviews Counted:79
Fresh:71
Rotten:8
Average Rating:7.3/10
Consensus: A raw, provocative drama about star-crossed love and the lives of immigrants caught between the traditional and modern.
Theatrical Release:Jan 21, 2005 Limited
Synopsis: Fatih Akin's HEAD-ON (GEGEN DIE WAND) is a powerful film about sexuality and suicide, centering on two Turks living in Germany. Drunken loser Cahit (Birol Unel) drives his car into a wall; Sibel... Fatih Akin's HEAD-ON (GEGEN DIE WAND) is a powerful film about sexuality and suicide, centering on two Turks living in Germany. Drunken loser Cahit (Birol Unel) drives his car into a wall; Sibel (Sibel Kekilli) slashes her wrists because she can't stand living with her traditional Muslim family. The two meet in the hospital and decide to join in a marriage of convenience in which he can get himself a cute young housekeeper and she can finally move away from home. They live together in Hamburg, where she begins to sleep around dangerously and he grows surprisingly jealous, leading to tragedy. Set to a soundtrack of 1980s music (Depeche Mode, Talk Talk, Sisters of Mercy), their lives continue to fall apart, lost to a world of lies and deception, drugs and violence, and emotional pain. Filmed on location in Germany and Turkey, HEAD-ON is an intense look at two lost souls who can't stand life as they know it. They spend a lot of time in clubs, trying to drink and dance away their troubles, but they seem doomed to constant failure and unhappiness. Unel and Kekilli are shockingly realistic in the lead roles, adding to the overall poignancy of the harsh and disturbing film. There is a large Turkish contingent living in Germany, many of whom came over in the 20th century seeking employment; in HEAD-ON, Akin delves into the resultant changing cultures with deep insight in this moving drama. [More]
Starring: Birol Unel, Sibel Kekilli, Catrin Striebeck, Guven Kyrac
Starring: Birol Unel, Sibel Kekilli, Catrin Striebeck, Guven Kyrac, Meltem Cumbul, Cem Akin, Aysel Iscan, Demir Gokgol, Stefan Gebelhoff
Director: Fatih Akin
Director: Fatih Akin
Screenwriter: Fatih Akin
Producer: Stefan Schubert, Ralph Schwingel
Studio: Strand Releasing
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Reviews for Head-On
In short, this is a fractured romance about screwups who finally luck into getting it right. And it's also a parable about identity crises for a generation of people who've grown up with one foot in the Old World and one in the New. Either way, it works.
The most honestly electrifying film I’ve seen in years, Fatih Akin’s thundering character piece completely captures the joy, fear, and self-loathing of bottoming out.
They might be marginal, they might misfits, but we actually care about those two crazy kids.
This is not just pliable filmmaking; it is an exercise in worldliness, in a feel for the cracks and warps of circumstance, which is all the more startling when you learn that the director is thirty-one.
With powerfully developed characterizations and keen observation, writer/director Akin doesn't settle for a formulaic resolution.
Akin's great strength is that he's much more interested in the individual demons that drive people into walls, regardless of how they're raised.
Gegen die Wand took home the top prize at the Berlin Film Festival, and I cannot but agree and recommend it highly.
A crash course in raw, visceral film-making . . . riding a gritty story and frenetically alive characters, Head-On is a cinematic rush.
Akin lays on too much nastiness and too many false endings, but the film succeeds anyway, fueled by the idea that love can restore a soul even if it can't always conquer all.
Sardonic and matter-of-factly shocking, Head-On draws us in because it recognizes how inexplicable, inconvenient and inescapable love is.
Where too many films depict redemption as a divine right, Head-On has the courage to track a process that generally makes for rough traveling.
Head-On doesn't sound like a lot of fun, but it keeps you on edge, laughing nervously, appalled and, against all odds, entertained.
Any sense of predictability is extinguished by these two thoroughly engaging actors. Despite their less-than-saintly behavior, you won't be able to take your eyes off either.
No matter what is going on in the story, these star-crossed lovers are always fascinating to watch.
Their performances are the heart of a film that is an often comic and raucous look at mismatched personalities, cultural dissonance, and the tender and tentative sense of optimism that keeps all of us alive for another day.
| Tomatometer Percentage | Movie |
|---|---|
| 44% 44% | Night at the Museum: B… |
| 32% 32% | Terminator Salvation |
| 36% 36% | Angels & Demons |
| 95% 95% | Star Trek |
| 25% 25% | Four Christmases |
| Tomatometer Percentage | Movie |
|---|---|
| 88% 88% | Inglourious Basterds |
| 78% 78% | The Hangover |
| 49% 49% | Taking Woodstock |
| 26% 26% | The Goods: Live Hard, Sell Hard |
| 47% 47% | The Girl From Monaco |
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