rdenk Director Faith Akin is ahead of his time in his 2000 film Im Juli in that he successfully portrays the ideals of a cosmopolitan Europe before the European Union was in existence. His dramatic film captures the essence of cosmopolitanism and transnationalism and raises questions of Heimat and belongingness through the love story of straightedge Daniel and free-spirited Juli. A Turkish-German himself, Akin transcends the cultural boundaries he is all too familiar with in this film and projects an idealistic, sometimes fantastical notion of a borderless Europe and a common humanity. Daniel and Juli's journey to "The Exotic South" takes them across numerous cultures, borders, languages and experiences, and encourages the viewer to adapt their perspective on the world surrounding them. Daniel and Juli's decision to stay in Turkey at the end of the film raises the idea of Heimat fluidity and whether a Heimat can change, a question a transnational director such as Akin has most likely faced himself.The fact that Im Juli was released before the installment of the European Union and Euro is not one to be taken lightly. The culture shocks experienced by Daniel as well as the border issues they face attempting to cut across Eastern Europe evoke the question of how the European Union today has – or, controversially, hasn't – facilitated cooperation and understanding between Europeans. Many of the issues Daniel faces are still relevant today – notably, the borders of Bulgaria and Romania, which currently still exist in a "Twilight Zone" between joining the Schengen tradition of border freedom and the strict (or perhaps not strict) border control we see in many scenes.Akin's film not only sticks to a German idea of Epic Theatre as opposed to traditional Aristotelian drama, but in fact almost satirizes the latter. While from the start of the film it may appear evocative of dramatic theatre – a short, dramatic timeline, a goal of reaching Istanbul by Friday, et cetera – by the end it quickly corrects itself. When Daniel says to continue south on their adventure rather than go back to Hamburg, he – and the viewer – learn that the journey was the destination the whole time, with eyes on the course rather than the destination. We also see that our main character is able to be changed, something unique to epic theatre – Daniel starts the movie as a rigid and rather boring man, yet at the end we see that he has become both adventurous and willing to gather new experiences, almost becoming, in many respects, similar to Juli. All in all, Akin's film is commendable for it's usage of cosmopolitanism in a time where the idea was still foreign. His usage of Brecht's epic theatre fosters a unique film in which Daniel's journey with Juli ends up being the real ending point he needed.

Tilly Gokbudak As someone who has a fondness for both Turkish and German cinema, I am glad this film made it to American shores and that Faith Akan's follow-up film "Head On" has just opened in NY (if only NY was not 11 hours away by car!). I have noticed that many outstanding German and Turkish films have not been distributed here, but hopefully the dual critical successes of "Goodbye Lenin!" and "Distant" can change that. I must admit that I liked "In July" more the first time, but it still holds up on a second viewing. I think there are two scenes in the film which are questionable. The Romanian border scene seems a bit forced, and the boat scene where the two leads share a joint seems out of place in a film that is not surreal in any other sequence. But, the characters are quite well-rounded and there are unexpected plot twists which keep the pace moving. Interestingly enough, both Turkish and German cinemas have produced outstanding 'road movies' over the years so it should be no surprise that a Turkish-German director achieves success in this genre. Two such films are Wim Wenders' "Kings of the Road" and the Yilmaz Guney-Serif Goren film "Yol," which means "The Road" in English. For those interested in German films with Turkish themes, there is also Kutlug Ataman's "Lola and Billy the Kid" which is a bit shocking because all the main characters are Turkish and the film has gay themes, but it is a film which works even when one takes away the novelty and its shock value. But, this is the better film of the two. I also like the exterior shots of the historic Turkish city of Edirne in the film and of course, it is hard not too make good use of the Bosphorous landscape which Istanbul has been blessed with.

Lars-Toralf Storstrand As Romantic comedies goes, "Im Juli" is one of the better I've ever seen, rating up there together with Serendipity, Sleepless in Seattle and When Harry met Sally.The major difference though, is that the story is happening – not i America, but from Berlin through Europe and finally under the Bosporus Bridge i Istanbul.All the happenings and situations tend to be almost hilariously funny. Even the stunts with the broken-down-and-battered-up old car they are driving is funny.Moritz Bleibtreu is fantastic. May he live long and prosper.Actually I would like to experience something like that myself. The film has a very positive angle/viewpoint – and even though things look black at times, that is not how it will end. Anyway, better with a sturdy happy European ending, than a superfluous sugared sweet-laden Hollywood-like ending with honey on top.I know you will agree.

tionfiul-1 Please, can someone at IMDb be more careful about which review gets displayed on the main details page of each film? It is simply not right to have to read someone's wrongfully deprecating comments just under the main details. Especially if the rest of the reviews are so obviously positive. Every film should be displayed with a comment that represents the opinion of the majority of viewers. If IMDb simply selects a random comment, a great film (like this) can be overlooked by someone who doesn't have the time to read the entire literature posted under "comments". As to this film, light, good-natured, new, original, funny, even if at times it finds refuge in the banal. Otherwise, a 9 out of ten.