Moral of a domestic thriller At first impression, something like a late-Soviet multi-series production and family drama, only the whole season is delayed in an hour and a half, and each new scene goes for a whole series - with a new information message and another dramatic turn. Something happens all the time – a domestic action, almost a thriller, and the film invariably balances between emotional extremism and the viscous average of life.
The headscarf (no hijabs in the film, just a “handkerchief”, Das Tuch) is a catchy image in our time, and other people’s religious feelings make them strain, especially in the version of Islam. But the film is never about Islam or the place of religion in the modern world. This quickly becomes clear, and I wondered what the morality was: it was almost in the middle, and I still do not catch up (and I like it) what they wanted to say.
Well, what difference does it make what teenagers look like (and what views they profess at an age when concepts are usually on about the same level as finding a style), as long as they do not commit illegal actions and stupidities that can poison the rest of their lives, continue to study and maintain a more or less normal relationship with immediate reality and the immediate environment (family and friends). The minimum program is to overcome the transitional age with the least losses, with maximum experience and without leaving education behind. That is a problem, and additionally complicate it with unnecessary disassemblies is hardly worth it, although, of course, we do this, and often not the case.
What about the case? What is the maximum program for which it is not a pity to go to conflict? By and large, creating a space of mutual trust. So you want understanding and recognition (the rebellious young), understanding and consolation (the many broken mature), so that you are “taken seriously” (Sevda, a girl in the scarf and halo of youth, is responsible for all sorts of soulful remarks in the spirit of monologues “at the bottom”). And this is possible, despite scarves, bare bellies and other accessories of self-expression (believes the teacher with beautiful eyes, and I am on her side - on the scale of age and the number of experienced wreckage). That's all it is.
The moral is simple – universal values do not lose their relevance, on the contrary, become even more important as society becomes more complex and diversity grows in it. Internal integrity and mutual respect for each other are important to everyone, that is, to everyone, and in general, and for individual moral idealists (such as Sevda, the teacher and me) become supervalues. The inner integrity of a teenager is still objectively quite a cheap coin (sorry, persons of the appropriate age), but looks better - with smooth skin and conviction of speeches together. But maintaining this quality in middle age, when you have to balance more facets and life situations, causes a more stable admiration. And most importantly, it is possible, not simple and requires all participants, at least, to get out of their comfort zone, but perhaps even in the context of a separate high school class. This is a good illustration of how a democratic society (not the state, but society) digests conflicts fraught with consequences of varying severity for both individuals and institutions.
When you look at it, you want more images. The leitmotif of the races on the simulator, opposed to jogging in the fresh air in wonderful weather and with a half smile on his lips, after the internal resolution of the conflict for the heroine - banal somehow. Hands joined at funerals are too melodramatic. But it is thanks to the consistent, deliberate recognition of metaphors (many of them, by the way, at this level, a remarkably dense narrative fabric is provided), the film aesthetically “works”, constantly showing that everything is not as straightforward as on the first presentation you ask to perceive, and calling for us to become thinner.