Verfolgt

Seen English subtitled means I wouldn't normally review a non English language film, as in judging you may miss the nuances imparted in the original language: (e.g. at one time, young Jan is told by his bemused 'cougar' to remove his 'underhosen', translated in my copy as 'drawers'; which is unintentionally amusing because in English, drawers are not only resolutely female, but dated back to early Twentieth Century use!): however, although cinematically this is otherwise, rather run of the mill (dull monochrome, representing the dreariness of post wall fall Germany?) boy meets gal = woman, loses .. standard romance, but with twist in that, really, it's the subject matter explored that demands the attention, being in effect the corollary of those Stateside overtly patriarchal s&m focused '50 Shades', '91/2 Weeks', 'Secretary' and the likes.

By which, the state the obvious English translated title more salaciously but essentially misrepresents this exploration of the S&M theme, since its original proper German title more insightfully sums up what is to unfold i.e. as more accurately translated as 'Pursued' (even rather than 'Hounded'): in which frame of mind, it well deserves a watch with full credit especially to young Kostya Ullmann playing an insouciant recalcitrant sixteen year old (although actually 22 by then) in what must have been a difficult pitch to portray as enamoured of not only a male finding pain awakening him from his prior crime-life existence, but that to be inflicted by elder woman! I.e. yes, a sort of classic F/M S&M scenario: this is even more arresting in knowledge that two women concocted the plot (big kudos then to writer Susanne Billig, as realised for the viewing by director Angelina Maccarone.)

Then, Maryann Kroyman, well portrays the initially quite confident, authoritative probation officer, with stern (German like!) commands to the reformed youngsters she's charged with supervising, yet whom is at first mystified, uncertain at her potential inner sadist that her charge begins to unexpectedly arouse in her, so to later deliver an excellent line to her husband to indicate how such role can manifest and awaken a previously patriarchally suppressed passion - this particularly pointed, too, when earlier he had callously advised her that his adultery is 'nothing - just sex', yet when confronted by her desire - (which is even 'not sex'!) - he hypocritically berates her for her own awakening desires. By which, her final doomed, hopeless realisation scene is painful to behold (Maccarone should have held the camera shot even longer, though) - sorta reminiscent of the famed finale of Bob Hoskins in 'The Long Good Friday'.

Well worth double (treble) billings with those other chastisement S&M films (e.g. given above), and for its bravery to broach a still mostly completely unacknowledged sexual penchant in mainstream cinema. (Although on that changing and for the younger generation too, see Larry Clark's recent 'Marfa Girl'.)

It happens sometimes that a new person or event could trigger a recognition that you are so fond of something uncomfortable or even prohibited... An example of this we see in Verfolgt where both protagonists - a 16-years-old lad and a 50-years-old woman obtain new, sexually-related experiences. But as they live in a world of laws and prejudices, their action - though of mutual consent - give rise to problems both at physical and emotional level.

All this here is skilfully, without sensationalism and pseudo-eroticism, depicted, and splendid performances (particularly Kostja Ullmann as Jan Winkler and Maren Kroymann as Elsa Seifert) let the film follow smoothly and without blah feelings. Whipping in German atmosphere is not, of course, very erotic, neither is black-and-white very sensual, but it is not disturbing - alike in many other "artistic" films. The ending, however, could have been more catchy, with a twist or something.

Recommended, unless you feel embarrassed of the topics of SM and/or intergenerational relationships.

PUNISH ME (VERFOLGT), aptly photographed in rich black and white, is a deftly made German film that raises as many questions as disturbing thoughts, a film that in every definition is a film noir - and a superb one at that. Writer Susanne Billig and director Angelina Maccarone (note: two very talented women!) have concocted a tale of disparate matching between a 50-year-old woman and a 16-year-old boy, a relationship that builds on sadomasochism as a means of filling voids in each character. The story could easily have become 'sensational' in less sensitive hands, but here, with the sound help of a superb and wholly credible cast, it asks us to examine the extremes to which people will go to feel complete.

Jan Winkler (the gifted and inordinately handsome Kostja Ullmann) is 16 and on probation for petty crimes. He is assigned to parole officer Elsa Seifert (the fine actress Maren Kroymann), a 50-year-old frustrated woman in a marriage that has stagnated. Jan feels a strange attraction to Elsa, an act that at first Elsa rebuffs and discourages but gradually becomes fascinated with the attention and seductive behavior of the young Jan. Committed to helping Jan she manages to talk her husband into employing Jan at his car repair shop the two males strike up a friendship. In a series of subtle episodes Jan suggests his need for 'structuring' to Elsa: what he needs is Elsa to punish him physically, and when Elsa complies she is attracted to the process of sadomasochistic behavior (as the Dominatrix) as well as to the tenderness that always follows their dark sessions. Elsa's husband discovers his wife's relationship with Jan while Jan's friends uncover the secret, and the resulting behavior and recriminations flesh out the surprising ending.

Both Ullmann and Kroymann are outstanding in these difficult roles and manage to maintain our empathy and understanding throughout the story. Both are exceptional actors and both have compelling screen presence. The cinematography allows us to once again remember how powerful black and white film can be. This is a film that some may find difficult to view (sadomasochism, teenage/older woman 'romance'), but the director keeps the story in tight rein and the result is a powerful tale of need and love and the sticky path that often joins the two feelings. In German with English subtitles. Recommended. Grady Harp

Angelina Macarone's 'Puhish Me' (US title: German title is 'Verfogt,' Hounded) is another German short film released by the sadly defunct Picture This!, like Thomas Stuber's excellent 'Teenage Lust.'. Its topic is how a 50-year-old counselor becomes involved in a sadomasochistic relationship with one of her 16-year-old charges that he imposes on her; it's one of several Picture This! releases that might sound like exploitation, but is clear-eyed analysis. The narrative develops not in terms of titillating acts but as a fulfillment of mutual needs that both have but neither understands. The excellent performances of Maren Kroymann as the woman and Kostja Ulmann as the boy are very convincing. The film-making lacks the art of 'Teenage Angst,' but that plainness contributes to the sense that this is a

no-nonsense look at a taboo subject -- an approach more likely to be seen in a small European film than in any American product, and a work of interest salvaged from the Locarno Festival secondary competition by Picture This!. This is the first time I've seen S&M in a film depicted in a way that truly made me relate to the participants and try to understand them, see them as acting out a raw deeply personal need rather than merely role-playing.

'Punish Me' is a recent release by Picture This!, the indie distributor of mostly foreign coming-of-age and gay-related films (e.g. 'Garçon Stupide,' 'Come Undone,' 'Aimée and Jaguar,' 'Before the Fall') that as of Nov. 2009, after 13 years, has closed its doors. This and Stuber's 'Teenage Angst' are just two examples that Picture This! is a niche loss that will be felt both by viewers and by the industry.

I actually bought the dvd because of the two leads (Kroymann being a very funny comedian, and Ullmann just happens to be the man of my dreams) and.. it's fascinating to watch this film fail on almost every level. There are interesting elements there (and I'm always here for some disturbing character study) but combined with the horrible dialogue and weird directing choices, I cannot understand the good reviews for this.

I don't like to judge people but after seeing this film you'll know exactly what director Angelina Maccarone is like as a person and a so called artist.

The whole thing is just so pretentious.

If you came for Kostja Ullmann it may be worth your time.