The subtlety of the film's architecture does not lie in the plot, but has to do with the moral fabric being spun, whose overall design may require a third installment, or at any rate a sequel, to carry the ethical weight.

"The Edge of Heaven"'s intricate, almost melodramatic plot shamelessly employs coincidences-much the way "Babel" did-but where that movie's tragic events seemed gratuitous and strained, Akin has a richer, deeper sense of character.

[It's] a much-needed maturation of the Babel/Crash formula but also fails to rattle your bones the way those movies did. Pick your poison, I suppose.

[Fatih Akin] weaves a laconic and serene web of characters. [Full review in Spanish]