Anatolia, 1915. During the mess of WWI, the Turkish army attacks its Armenians and Nazaret Manoogian is separated from his wife and two daughters. As a prisoner left for dead with a wound to his throat that takes his power of speech, he frees himself and goes in search of his family. His journey takes him from the desert of Mesopotamia to the ice-cold prairie of the United States…

Picture gallery

The Cut is widely believed to be the best and most ambitious film by Turkish-German director Fatih Akin. It is the last in his trilogy about love, death and evil, after Head-On and The Edge of Heaven, an impressive German, French, Polish, Turkish, Canadian and Italian co-production that marks the return of Mardik Martin, the Armenian-American screenwriter known for his work with Martin Scorsese (Mean Streets, New York, New York, Raging Bull). It is a deeply meaningful collaboration that powerfully affects this drama about the Armenian Genocide, which takes place during a decade of fear and violence. However, this strength is incapable of overcoming this oddly disembodied movie’s faults, which aren’t helped by a vague performance by Tahar Rahim. The geographical immensity of the epic is therefore accompanied by a painful feeling of immobility that even the much-awaited ending can’t fix.