"At its core, Yunan is about the constant search for home, both physical and emotional"

Competing in this year’s Berlinale Official Competition, Yunan is the second part of Ameer Fakher Eldin’s “Homeland” trilogy. A slow, meditative film, it explores themes of belonging, exile, and nostalgia through the journey of Munir, an Arab writer in exile who retreats to a remote German island. There, he crosses paths with Valeska (Hanna Schygulla) and her son Karl, forming a quiet connection that slowly rekindles his desire to live.

At its core, Yunan is about the constant search for home, both physical and emotional. The film is visually stunning, relying heavily on landscapes and long, wordless sequences to communicate its themes. While this approach may appeal to those who appreciate slow, contemplative storytelling, for others, it might feel more like a test of patience. The director not only wrote the script but also took part in the editing, which reflects a deeply personal vision—but also results in a film that lingers, sometimes a bit too much.