‘Yunan’ Review: Far From Home, an Exiled Middle Eastern Writer Seeks Serenity in a Windblown Mood Piece

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Munir, a troubled writer hailing from an undisclosed Middle Eastern nation, finds solace and eventual redemption in Germany’s serene Hallig Islands, where he contemplates taking his life. The tranquil, picturesque scenery provides a peaceful setting for one’s final moments, but it lacks the spectacle to truly revitalize someone. However, over the course of Ameer Fakher Eldin’s poetic and existential drama “Yunan,” Munir begins to discover more about both the islands and himself, revealing hidden depths that were not immediately apparent. As a subtle, gradually unfolding exploration of intercultural relationships, the film is ultimately rewarding; its secondary folkloric narrative, mirroring Munir’s journey with his cultural roots, is less convincing.

In its premiere at the Berlinale, “Yunan” marks the second installment of Fakher Eldin’s planned trilogy titled “Homeland,” focusing on the theme of displacement. The first film in this series was his successful debut, “The Stranger,” which represented Palestine in the international Oscars race in 2021. Though not as polished as its predecessor, “Yunan” showcases strong formal mastery and emotional depth. This second feature by Fakher Eldin is a fittingly global collaboration (between Palestine, Jordan, Canada, Germany, Italy, and France), driven by a poignant longing for home or sense of belonging, felt from distant lands.

In its debut at the Berlinale, “Yunan” represents the second part of Fakher Eldin’s planned trilogy called “Homeland,” exploring the topic of displacement. The first film in this series, his well-received debut “The Stranger,” was Palestine’s entry for international Oscars consideration in 2021. Although not as flawless as its initial release, “Yunan” demonstrates impressive control over form and emotion. This second movie by Fakher Eldin is a collaborative production between several countries (Palestine, Jordan, Canada, Germany, Italy, and France) that carries a deep yearning for home or belonging from distant places.

Fakher Eldin, born in Ukraine to parents of Palestinian and Syrian descent, currently resides in Hamburg. At 33 years old, he shares a personal connection with the solitary character he portrays in the film – also a Hamburg resident, who quickly establishes his loneliness in the opening scenes. The character, Munir, is played by Georges Khabbaz, giving him a slow gait and a constantly tired, distant look. In the doctor’s office where Munir first appears, no specific ailment is identified beyond a general sense of physical and mental unease. Even his occasional shortness of breath seems more emotional than physiological. The doctor recommends rest as treatment, which Munir interprets as an opportunity to embark on a leisurely suicide mission.

Through a phone conversation with his sister and his mother suffering from dementia (Nidal Al Achkar), we discover that he is an exiled author who feels just as creatively restricted in Europe as he does heartbroken. Despite her limited understanding of herself, he requests his mother to recount a cherished childhood story about a shepherd who was both deaf and mute (Ali Suliman) living in the desert’s solitude – a tale with biblical undertones that becomes vividly real in numerous mysterious, bronze-tinted scenes. However, the narrative never advances or escalates; Munir’s mother only remembers the story’s introduction, and these recollections echo his own internal immobility. This film, already slow-paced, underscores this stagnation more often than required.

In this movie, though the storyline is simple, it captivates as the protagonist, Munir, journeys across land and water to the Hallig Islands located off Germany’s bleak northern shore. He finds lodging at a basic guesthouse owned by Valeska, an elderly woman with a hidden sense of humor, played by Hanna Schygulla. Munir is puzzled by her ironic hospitality, especially during a humorous scene where she teasingly invites him to disrobe near the fireplace after getting wet in the rain. Despite being met with coldness from Valeska’s son Karl and other islanders, Munir never feels lonely enough to use the gun hidden in his luggage as planned.

In a series of unusual collaborations with independent filmmakers, such as François Ozon’s “Peter von Kant” and Yorgos Lanthimos’ “Poor Things,” seasoned German actress Schygulla brings a delightful dash of warmth and humor to this largely somber production. Her playful demeanor harmonizes beautifully with Khabbaz’s more serious, sorrowful portrayal, enriching the overall film. However, despite being vital in tying the narrative to Munir’s unique cultural background, the subtly enigmatic storytelling lacks the necessary contrast and tension. This absence leaves some scenes feeling heavy for a two-hour-plus movie.

In a small, seemingly isolated community situated almost at the world’s edge, the residents find themselves bracing against an impending catastrophe – a colossal storm predicted to unleash unprecedented flooding. This diverse band of survivors must unite and endure together. The approaching deluge is masterfully portrayed by Fakher Eldin and cinematographer Ronald Plante, using skillful camera movements that gradually pan the ominous combination of stormy skies and churning waters, or capturing the fierce winds as they whip through reeds and swaying grasslands. Kuen-Il Song’s dynamic sound design plays a crucial role in creating an immersive atmosphere. As the locals prepare for the worst, Munir may find a sign that he is part of something greater than himself, perhaps his destiny within this universe.

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2025-02-20 14:46