Yella

This enigmatic drama is a story of a young woman who confronts her ambitions and insecurities head on. The film starts with Yella accepting a new job and moving to the more modernized western part of the country. With hopes for a better future, the life she leaves behind include her loving father, her obsessive husband, and the stability of a reality understood.

Christian Petzold uses a bold no frills approach to exhibit this thought provoking film. The narrative has a minimalistic quality which serves the film well, allowing the viewer to focus on the subtle yet compelling performance by actress Nina Hoss. Yella is an intelligently layered film and a triumph for modern day German cinema.

Coolly atmospheric reimagination of Carnival of Souls in a contemporary German setting shifts its focus onto a world of surreal business dealings and ambiguous personal relationships; Nina Hoss is excellent in the title role as a woman torn between escape and new entanglements.

Although the way this film will end is probably there from the beginning anyone who complains about that is missing the point. The big pluses are the location, the atmosphere and the wonderful leading lady who was totally convincing as a bullied wife. Even viewed from the back she maintained her somewhat cowed attitude. I liked the hint at an unknown dimension of the spirit as she gained her freedom from her horrible husband. I also liked that the world Yella found herself in was strange and alienating but she adapted quickly because she was used to being pushed around. It's another film that demonstrates how much wiser and more satisfying European films are.

If you are looking for a thriller that sweeps you away for 90 minutes go elsewhere. If you are looking for a twister that strives to constantly outwit your keen literary and cinematic intellectual sensibilities with its never-ending brain teasers this isn't it. The film does have flaws but, as a vehicle that facilitates a better understanding of human nature, it is very successful.

Why can't bright people get over the need to duel with the directors and writers of film and, instead, pay attention to what is important? Whatever its shortcomings, this is a look into the psyche of a human being that, at least for me, reveals all the frailties, contradictions and inconsistencies that our species is heir to.

See this film, allow yourself to enter into Yella - then, by all means, dissect and analyze it later.

Petzold is a very controlled and composed film-maker. In this film, as in GESPENSTER, he uses this almost forensic calm and diurnal realism to explore metaphysical issues. So this film, which ostensibly takes place in the aggressive financial world of mergers and acquisitions, is also a film about death, the soul, and guilt. It is a great challenge to look at these intangible themes through the prism of a very tangible, concrete world - but this Petzold does achieve, with beautifully composed and controlled imagery, and even a nice line in wry, ironic humour. There are some great performances in the film - they draw you part of the way in, but nevertheless there is still some distance between viewer and film. This maybe results in a slightly cold viewing experience, but the film has stayed with me long after its end - it is a complex and highly rewarding work, if mainly in retrospect.