Fatih Akin won the Golden Bear at the Berlin Inetrnational Film Festival with Head-On (2004), which was shown in Korea as well. The Edge of Heaven won the director the Best Scenario Award at Cannes, as well as securing him fame as an auteur. A Turkish-German, Fatih Akin steadfastly produces films that originate from being secondary, marginal, and reiterated. The Edge of Heaven states that immigration, migration, and travel in the globalized capitalistic world do not cut off human relationships; instead, the film emphasizes that such movement can create a stronger emotional network by replacing static racial, blood relations with the power and newness of coincidental meeting. Set in Bremen, Germany, this film is made up of episodes with the deaths of the characters as titles. A Turkish professor in German literature, Nezat disapproves of the relationship that his father Ali has with a Turkish prostitute Ite. Ali suddenly has a heart attack; after he is released from hospital, Ali has a fight with Ite. When Ite dies accidentally from the dispute, the guilt-filled Nezat goes to Istanbul, Turkey, in order to find Ite’s daughter Aiten. Aiten is participating in an anti-government organization in Turkey, and runs away to Germany to avoid the government’s surveillance. In university, Aiten runs upon Rotte, a German woman, and the two become lovers. Rotte’s mother Susanne does not approve of her daughter. When Aiten is eventually arrested in Germany and forced to return to Turkey, Rotte follows her to Istanbul for her liberation. Through the meeting, love, and deaths of two Turkish-Germans, father and son, two German women, mother and daughter, and two Turkish women, mother and daughter, the film spots sharply yet lyrically the events and moments in which the individuals, divided by border, race, nationality, and blood relation, accept each other. (KIM Sunah)