After living 45 years in Germany, the Turkish Hüseyin Yilmaz, seventy, announces to his family that he has bought a house in Turkey and they should return to make the necessary reforms. The idea is unwelcome and causes very heated discussions. In addition, Canan, a granddaughter of Hüseyin, announces she is pregnant and the father is her English boyfriend, and no one knew anything.
漢堡土耳其族一路，經已是令影迷每年都要留意的先鋒電影品牌，當法堤艾金已走到天堂邊緣去，也是作家身份的小師弟奧思古尤迪林則做好人間基礎，進駐杜爾斯柏土裔區，寫出這鏗鏘有力的黑道上位故事。志哥與提貝的關係，讓人想起《旺角卡門》裡來自調景嶺的華仔和烏蠅。他們認了表面上是音樂監製的棕哥做大佬，志哥憑膽色扶搖直上，提貝則跟不上，志哥終於面臨要兄弟還是要黃金的命運臨界點。江湖好漢的事蹟背後是全球化／後殖民時期國族題旨很深的體會，血緣認同狂暴的掙扎，於傷痛與罪孽中不能自持。
艾米（布里奇特·米拉 Brigitte Mira 饰）是一名60岁的清洁女工，辛苦工作的她拿着微薄的工资，生活很是清贫。机缘巧合之下，她结识了40岁的阿里（El Hedi ben Salem 饰），他们一起跳了一支舞后阿里提出送艾米回家。夜深了，阿里错过了末班车，只得在艾米家留宿。两个孤独寂寞的人相见恨晚，秉烛夜谈，当艾米为此感到深深的疑虑时，阿里只是淡淡的安慰了她。果不其然，艾米留宿男人的事情很快传遍了大街小巷，邻居同事的指指戳戳教她如坐针毡，无奈的她只得编撰了一个谎言，她说阿里是她的未婚夫。这门婚事毫不意外的遭到了所有人的反对，大家尽己所能的排挤、诋毁这对夫妻，这使得他们决定外出旅行避避风头。回来后两人的境遇有所好转，并不是街坊邻居接纳了他们，而是因为他们有了新的排挤对象。没有了外界的压力，艾米和阿里的感情却又因为内部的矛盾而产生了裂痕 影片用写实的手法展现了一个冷漠、刻薄的社会，探讨了这个社会之中存在的各种歧视以及人性之中孤独又灰暗的一面。
影片讲述的是希腊人科斯塔、阿尔巴尼亚人波比和土耳其人加布里尔三个好友在汉堡的故事。加布里埃尔，父母是土耳其人，从监狱出来后开始过新生活。塞尔维亚人波比却想加入阿尔巴尼亚人的黑手党，走上罪犯生涯。同时希腊人科斯塔深陷一项巨额军火交易中。本片是生活在汉堡的土耳其导演费斯文 阿金的一部十分生动的处女作。影片中表现的现实主义和戏剧性冲突使我们想起法斯宾德的早期黑帮电影，还令人回忆起马丁斯科塞斯的早期作品。
An eleven-year-old Turkish boy, two young men from a small town, and a cuckolded policeman from the sticks all find their way to Berlin on May Day, where, in the district of Kreuzberg, emotions come to the boil every year.
Ertan Ongun is German-Turkish, a child of migrants. He likes to refer to himself as Kanake. His buddies Mehdi and Kemal are of the same ilk. They do “business” on the street together, but because of their recklessness and sometimes great stupidity, they repeatedly offend both other criminals and the police. No problem for Ertan, because his motto is loyalty, quick money, and being a kanake. “Fuck and be fucked, that’s life!” … and that’s what he lives by one hundred percent.
Flight Number 884 is a film about the wishes and desires of Muslim immigrants. Every year thousands of bodies of Turkish immigrants are flown back from Europe to small villages - villages they had left long ago. The film follows the dead body of a Muslim on its last journey from Vienna to a graveyard in Turkey.
In 1991, both two years after the fall of the Berlin Wall and the 30th anniversary of the guest worker agreement, Turkish filmmaker Can Candan interviewed members of Berlin's Turkish community about their experiences around German reunification and the racist violence that came along with it at the beginning of the 90s.