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IMDb > Yella (2007)
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Overview

User Rating:
6.6/10   769 votes
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Down 4% in popularity this week. See rank & trends on IMDbPro.
Director:
Christian Petzold
Writers:
Simone Bär (script)
Christian Petzold (writer)
Contact:
View company contact information for Yella on IMDbPro.
Release Date:
16 May 2008 (USA) more
Genre:
Drama | Romance | Thriller more
Plot:
Yella is estranged from her possessive and violent husband; but he can't quite bring himself to give her up. When their fraught interaction finally comes to dramatic conclusion, Yella's life takes an odd shift. full summary | add synopsis
Awards:
5 wins & 5 nominations more
User Comments:
Offering depth beyond the life and death matrix more

Cast

  (Complete credited cast)
Nina Hoss ... Yella Fichte
Devid Striesow ... Philipp
Hinnerk Schönemann ... Ben
Burghart Klaußner ... Dr. Gunthen
Barbara Auer ... Barbara Gunthen

Christian Redl ... Yellas Vater
Selin Bademsoy ... Dr. Gunthens Tochter (as Selin Barbara Petzold)
Wanja Mues ... Sprenger
Michael Wittenborn ... Dr. Schmidt-Ott
Martin Brambach ... Dr. Fritz
Joachim Nimtz ... Prietzel
Peter Benedict ... Dr. Friedrichs Anwalt Oliver
Ian Norval ... Rezeptionist
Peter Knaack ... Insolvenzverwalter
Thomas Giese ... Kassierer
more
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Additional Details

Runtime:
89 min
Country:
Germany
Language:
German
Color:
Color
Aspect Ratio:
1.85 : 1 more
Sound Mix:
Dolby Digital
Certification:
Germany:12 | Argentina:13

Fun Stuff

Trivia:
Film title was inspired by Yella Rottländer, female lead in Wim Wenders' Alice in den Städten (1974). more
Movie Connections:
Referenced in "Kennwort Kino: Das Geheimnis von Yella" (2007) more
Soundtrack:
Piano Sonata No.14, Op.27 No.2 more

FAQ

This FAQ is empty. Add the first question.
11 out of 17 people found the following comment useful:-
Offering depth beyond the life and death matrix, 16 June 2008
7/10
Author: Jugu Abraham (jugu_abraham@yahoo.co.uk) from Trivandrum, Kerala, India

Germany's Christian Petzold belongs to the new breed of European directors that loves to make films layered with meaning for the astute viewer. Russia's Andrei Zvyagintsev mesmerized serious film-goers with his multi-layered films that urge film-goers to approach cinema as one would approach a challenging and intelligent puzzle to derive maximum entertainment. Spain's multi-talented Alejandro Amenabar has proved that a holistic mix of good screenplay, music and direction can result in films that recall the precocious brilliance of the young Orson Welles' Citizen Kane made so many decades ago. These are films that are delectable for the intelligent and patient viewer who does not demand to be spoon-fed by the director. Members of this exclusive club of directors include Austria's Michael Haneke and Finland's Aki Kaurismaki. In Yella, Petzold throws morsels of visual treats at the viewer. The attentive viewer will ask for more, for the less attentive it will be an invitation to snore.

"Yella" is the name of the main character of the film. (Yella is creatively linked to Wim Wender's key character in his film Alice in the Cities, a character without a mother moving from city to city.). Petzold's Yella has a father but the mother is either absent or not discussed, not far removed from Wender's Yella.

Yella wears red most of the time. Now bright red is worn by many women in Europe but the color acquires a different meaning when you realize its political association with East Germany. Petzold's Yella lives in former East Germany, full of birds, trees, rustic atmosphere and warmth. Petzold's Yella yearns to make big bucks in the former West Germany, less populated, richer and more corrupt at corporate and personal levels.

Halfway into the film, there is a suicidal motor accident. What follows teases the mind of an attentive viewer. A desperate woman boards a train with empty compartments. A male person peeks into her compartment but leaves her alone. Much later, she realizes that the train has reached its destination and has been parked in a yard. As she strolls into town, her eyes meet with those of a woman, who is apparently well off financially and secure in an urban house. This was in my view the most powerful and enigmatic sequence in the film. Who is this woman? Is it Yella comparing what she would be like in future? When her future benefactor turns out to be a crook, Yella "helps" him. Yella herself slowly transforms into a crooked woman as a chameleon would in new surroundings, all the while yearning for the old life of her father and financially crippled husband.

The second half of the film with its almost empty hotels provide a clue to the film, just as Amenabar progressively provided several clues in his well-made ghost movie "The Others" that there is something unreal. Can characters enter locked hotel rooms, eat food and disappear? Would characters who once stalked Yella be transformed into characters that Yella would herself pursue in dark alleyways outside her hotel instead of hiding from them? Who is alive and who is dead? What is real and what is imaginary? Why is the sale price of the husband's business, eerily the same figure as the figure quoted to purchase computers? You are coaxed by your own inquisitiveness to go backwards in the film to figure that out. Somewhere floating in the water after the accident you can spot an empty can of Coca-cola, a symbol of western materialism and prosperity.

There are aspects of the film that bothers me. Why did Yella leave her husband? Because he was obsessed with her? Why is the mother figure absent? Is true love absent? Yella is portrayed by actor Nina Hoss and the performance won her a Silver Bear for the Best Actress at the Berlin Film Festival. The film's editor, cinematographer, and director—all three have been separately honored with minor awards for their contributions in this film. The surprise for me was that the story was written by first time writer Simone Baer, basically an established casting director. It is remarkable that Baer and Petzold should weave an interesting film around personal guilt, aspirations and quality of life. I was intrigued how a male director could delve inside the female psyche so well until I was amused to spot that the original writer was Simone Baer, a woman.

Yella is portrayed by actor Nina Hoss and the performance won her a Silver Bear for the Best Actress at the Berlin Film Festival. The film's editor, cinematographer, and director—all three have been separately honored with minor awards for their contributions in this film. The surprise for me was that the story was written by first time writer Simone Baer, basically an established casting director. It is remarkable that Baer and Petzold should weave an interesting film around personal guilt, aspirations and quality of life. I was intrigued how a male director could delve inside the female psyche so well until I was amused to spot that the original writer was Simone Baer, a woman.

Petzold and the "club" of like-minded European directors invite the audience to think and reflect about themselves after they view these movies. These films offer interesting views on politics, ethics, business and love. They may or may not be obvious. It is for the viewer to spot them. They are not served on a platter. The story on screen remains as a pivotal point for the debate to begin among viewers. These films urge you to consider your own situation in life and reflect how you would react under similar circumstances shown in these films.

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What does the ending mean? (SPOILERS!) steve.schonberger
WHY?? bennylandia
Remake. matthewwave-1
what was the song Philipp was listening to in the room? oferneiman
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