"Kebab Connection" tells the story of Ibo, a second generation Turkish German aspiring filmmaker who finds out that his girlfriend is pregnant. The film finds humor in toying with stereotypes associated with Turkish Germans, and with notions of Turkish German identity. It's very enjoyable, and succeeds in communicating a positive social message about intercultural harmony.
Ibo initially avoids his responsibilities as an expecting father in a western society that strives for gender equality. His behavior exemplifies the stereotypical Turkish father unwilling to assume some of the duties associated with the traditionally feminine role of raising children. While he eventually mans up and commits to being a good father, the film gets laughs from poking fun at his struggle to do so. For example, he lets a stroller purchased by his pregnant girlfriend roll down a hill to avoid being seen with it.
Another interesting characteristic of the film is Ibo's lack of a strong Turkish of German identity. Contrary to what one might expect in a film dealing with Turkish/German cultural differences, Ibo's greatest cultural identification seems to be with Hollywood Kung Fu films. Ibo is a Kung Fu film fanatic, and the commercials created by Ibo shown in the film are affectionate parodies of the genre, employing its conventions to sell fast food. His love of this cultural import transcends issues of cultural conflicts between ethnic Germans and Turkish Germans, making light of them.
Ibo initially avoids his responsibilities as an expecting father in a western society that strives for gender equality. His behavior exemplifies the stereotypical Turkish father unwilling to assume some of the duties associated with the traditionally feminine role of raising children. While he eventually mans up and commits to being a good father, the film gets laughs from poking fun at his struggle to do so. For example, he lets a stroller purchased by his pregnant girlfriend roll down a hill to avoid being seen with it.
Another interesting characteristic of the film is Ibo's lack of a strong Turkish of German identity. Contrary to what one might expect in a film dealing with Turkish/German cultural differences, Ibo's greatest cultural identification seems to be with Hollywood Kung Fu films. Ibo is a Kung Fu film fanatic, and the commercials created by Ibo shown in the film are affectionate parodies of the genre, employing its conventions to sell fast food. His love of this cultural import transcends issues of cultural conflicts between ethnic Germans and Turkish Germans, making light of them.