Geister / Rencontre avec Fatih Akin
I feel a sense of gentleness mingled with something far more painful, as though Fatih Akin had wanted to rediscover, beneath all the violence, all the wounds and all the shadowy places his cinema has so often explored, a more unguarded, almost purer form of feeling, something that still belongs to that age when we can love before we have learned to protect ourselves, when we believe everything is beginning at the very moment life may brutally decide that everything must stop.
Faris and Farasha are twenty when they meet, a single glance is enough, then Farasha dies that very night, yet their story does not end there, because she manages to reach Faris in his dreams for forty nights, and I love this idea deeply because it turns the supernatural into something profoundly intimate: not the spectacular wish to bring back the dead, but the much simpler, far more universal longing for a little more time with someone we have just lost.
