Seen English subtitled means I wouldn't normally review a non English language film, as in judging you may miss the nuances imparted in the original language: (e.g. at one time, young Jan is told by his bemused 'cougar' to remove his 'underhosen', translated in my copy as 'drawers'; which is unintentionally amusing because in English, drawers are not only resolutely female, but dated back to early Twentieth Century use!): however, although cinematically this is otherwise, rather run of the mill (dull monochrome, representing the dreariness of post wall fall Germany?) boy meets gal = woman, loses .. standard romance, but with twist in that, really, it's the subject matter explored that demands the attention, being in effect the corollary of those Stateside overtly patriarchal s&m focused '50 Shades', '91/2 Weeks', 'Secretary' and the likes.
By which, the state the obvious English translated title more salaciously but essentially misrepresents this exploration of the S&M theme, since its original proper German title more insightfully sums up what is to unfold i.e. as more accurately translated as 'Pursued' (even rather than 'Hounded'): in which frame of mind, it well deserves a watch with full credit especially to young Kostya Ullmann playing an insouciant recalcitrant sixteen year old (although actually 22 by then) in what must have been a difficult pitch to portray as enamoured of not only a male finding pain awakening him from his prior crime-life existence, but that to be inflicted by elder woman! I.e. yes, a sort of classic F/M S&M scenario: this is even more arresting in knowledge that two women concocted the plot (big kudos then to writer Susanne Billig, as realised for the viewing by director Angelina Maccarone.)
Then, Maryann Kroyman, well portrays the initially quite confident, authoritative probation officer, with stern (German like!) commands to the reformed youngsters she's charged with supervising, yet whom is at first mystified, uncertain at her potential inner sadist that her charge begins to unexpectedly arouse in her, so to later deliver an excellent line to her husband to indicate how such role can manifest and awaken a previously patriarchally suppressed passion - this particularly pointed, too, when earlier he had callously advised her that his adultery is 'nothing - just sex', yet when confronted by her desire - (which is even 'not sex'!) - he hypocritically berates her for her own awakening desires. By which, her final doomed, hopeless realisation scene is painful to behold (Maccarone should have held the camera shot even longer, though) - sorta reminiscent of the famed finale of Bob Hoskins in 'The Long Good Friday'.
Well worth double (treble) billings with those other chastisement S&M films (e.g. given above), and for its bravery to broach a still mostly completely unacknowledged sexual penchant in mainstream cinema. (Although on that changing and for the younger generation too, see Larry Clark's recent 'Marfa Girl'.)
