Yella

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.

In my opinion Christian Petzel is one of the most prominent German directors of the new century. It amazes me how low his films are usually rated.

With respect to "Yella" a possible explanation could be that the story is complicated. The film has a surprising ending (about which I shall say nothing in this review), but even including this ending there remains much to think about.

Despite or perhaps thanks to this complicated plot the film is very rewarding. It is situated in impersonal and distant environments such as highways, business motels and conference rooms. The facial expressions (amazement, disbelief, amusement) of main character Yella (Nina Hoss) contributes more to the story than the often somewhat disguised dialogue.

In the film Yella forms more and more a duo with Philipp (Devid Striesow), a shady venture capitalist who tries to buy firms in distress at a very low price and thereby explores and transcends the limits of the law.

Illuminating is the scene in which Philipp puts Yella to a test. He asks her to deposit some cash money on a bank account and gives her an exces of cash. Will she return the "spare change" to him or not? Initially she does not. It remains unclear of she thereby was failing or passing the test. Personally I think she is passing it, proving that she too could embezzle money when opportunity knocks.

Important in my opinion is that Philipp is much like Ben (Hinnerk Schönemann), the ex of Yella. Philipp has the same character and the same physical appearance as Ben, being only a little smarter and more succesful. Given the fact that Yella and Ben are from East Germany (Wittenburg) and Philipp from West Germany, there seems to be some symbolism hinting at the re-unification.

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.

In Christian Petzold's film 'Yella', a young woman stalked by her husband after leaving him slowly rebuilds her life, and self-respect, through starting a relationship with a criminal businessman. But it's not clear how much of the story is real, and how much is the product of her traumatised mind. In its conclusion, the film resolves this question, and the answer is almost inevitably disappointing; the kick in the tail insufficiently surprising or satisfying. What is good, however, is most of what precedes the ending, as the viewer is drawn into a world intriguingly on the balance of normalcy and the sinister, as seen by a woman herself on the edge. It's nicely underplayed and there's scarcely a wasted scene; it's just a shame that the final resolution has little new to add.

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.