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The Edge of Heaven (15)

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Star rating: ****
Dir: Fatih Akin
With: Nurgul Yesilcay, Tuncel Kurtiz, Baki Davrak, Nursel Kose

Odd to describe as life-enhancing a film that focuses so closely on death, but Fatih Akin's drama is gloriously optimistic about the human capacity to heal. Like Head-On, his Golden Bear winner, The Edge of Heaven concerns itself with Germany's Turkish population, particularly those, like the writer-director himself, who belong to the second generation.

The tension between old and new is summed up in the relationship between retired widower Ali (Tuncel Kurtiz) and his professor son Nejat (Baki Davrak). Ali decides the best cure for his loneliness is to hire a prostitute, Yeter (Nursel Kose), to live with him. His son, initially suspicious, gets along well with Yeter. In part to make amends for an incident that occurs, but also to discover something more of himself, it is Nejat who sets out to find Yeter's daughter Ayten (Nurgul Yesilcay), a young radical last seen in Istanbul. One story feeds into another, so that by the end the film is juggling six characters across two countries.

That such a complex set-up works is due to Akin's refusal to sweat the big stuff. While others might labour over some of the more momentous events depicted, he deals briskly with them and moves on. To him, the important thing is not what happens but how those left behind deal with it. Death is a matter of deep, abiding grief, but life is for the living.

Davrak is excellent as the sensitive son adrift in his own life and a strange country. While saying very little, his sad, gentle face registers everything.

Of the rest, the veteran actress Hanna Schygulla is outstanding. As the deeply conservative mother of a young German who falls in love with Ayten, she plays one of the film's more unsympathetic characters. That this is turned around shows how much Akin delights in challenging preconceptions.

By the close of his epic tale the viewer is left pleasantly exhausted, as if we've travelled as many miles, actual and emotional, as the cast. Recognising this, Akin ends with a long take showing one character sitting calmly at the ocean's edge, staring expectantly out to sea. Departures and arrivals: not just the stuff of travelling, but of life itself.

Filmhouse, Edinburgh, until March 20

12:58am Thursday 6th March 2008

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