Yella

petzold'un gözlemleri ve onları aktarışında tuhaf bir çekicilik var. janr sinemasını günün içine oturtuyor gibi her filminde. gayet ezber bir sosyal drama olabilecekken ve esasen ondan farklı bir şey de söylemiyorken o doğru "mesajın" bu kadar zarifçe kurulup estetize ediliyor olması hayli şaşırtıcı.

Not sure I am buying the story or the main character, but Petzold's sure-handed direction keep it very watchable nonetheless.

"It's all a dream" BS, and even though the ending does make you think back through how the narrative has been crafted, I'd rather have a better answer for the confusions. Some great hallucinatory scenes. An interesting depiction of a world in which personal relationships are controlled by the whims of business.

This is an uncredited (as far as I know) remake of a cultishly adored 60s American no-budget horror movie, recast as a political allegory about the remaining divide between former East and West Germany (I think). An odd experiment. Maybe I would like it more after a second viewing. The first time I was just like, "No way. This can't just be a glossy, 'respectable' update of [Movie X]. This....oh, wow, it is."

After completely falling in love with the slow-burn tactics of Petzold's Barbara, I was extremely let down by Yella, a film that never sustains any sort of tension and, were it not for Nina Hoss' compelling screen presence, would never have anything interesting going on at all. A dud of a psychological thriller.

Nina Hoss is always incredibly watchable, especially in roles like this where she sits around silently a lot, listening, judging, and rolling those huge eyes so expressively. Story-wise I thought the first third was very promising, followed by a gradual decline and disappointing conclusion. Ok, there was some interesting symbolism going on, patterns and repetitions and psychological games to keep our minds ticking, but all to what end? Definitely one of Petzold's weaker scripts.

Although not much happens, there is a constant, remarkable tension throughout the whole film. Petzold is a great observer.

"Far less concerned with character development than with bludgeoning clues to the drama's true nature." - Nick Schager