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.

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Cast

Complete credited cast:
...
...
Philipp
Hinnerk Schönemann ...
Ben
...
Dr. Gunthen
Barbara Auer ...
Barbara Gunthen
...
Yellas Vater
Selin Bademsoy ...
Dr. Gunthens Tochter (as Selin Barbara Petzold)
...
Sprenger
...
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
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Storyline

Christian Petzold's drama deals with a woman, who leaves her hometown for a promising job and a new life, but is haunted by the truths of the past. As her marriage to Ben broke and her professional career has no future in her native town in the Eastern part of Germany, Yella has decided to search for a job in the West. When she gets to know Philipp, a smart executive at a private equity company in Hanover, she becomes his assistant and gets involved into the world of ruthless and big business. Realizing her dreams could come true with Philipp's help, she starts hearing voices and sounds from her past, which menace her new and better life... Written by fippi2000

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16 May 2008 (USA)  »

Also Known As:

Йелла  »

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1.85 : 1
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Did You Know?

Trivia

Film title was inspired by Yella Rottländer, female lead in Wim Wenders' Alice in the Cities (1974). See more »

Connections

Follows Gespenster (2005) See more »

Soundtracks

Sonata No.14 in C-sharp minor, Op.27 No.2
by Ludwig van Beethoven
Interpreted by Dietmar Löffler
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User Reviews

 
Mood better than story
27 February 2010 | by (Saffron Walden, UK) – See all my reviews

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.


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