Raetsonwe Redundant and unnecessary.

Exoticalot People are voting emotionally.

FeistyUpper If you don't like this, we can't be friends.

Fairaher The film makes a home in your brain and the only cure is to see it again.

jillf64 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.

paul2001sw-1 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.

thieverycorp76 This enigmatic drama is a story of a young woman who confronts her ambitions and insecurities head on. The film starts with Yella accepting a new job and moving to the more modernized western part of the country. With hopes for a better future, the life she leaves behind include her loving father, her obsessive husband, and the stability of a reality understood.Christian Petzold uses a bold no frills approach to exhibit this thought provoking film. The narrative has a minimalistic quality which serves the film well, allowing the viewer to focus on the subtle yet compelling performance by actress Nina Hoss. Yella is an intelligently layered film and a triumph for modern day German cinema.

richard_sleboe It seems Yella (Nina Hoss) has next to nothing left to lose as she takes an accounting job in a nondescript business park two hours away from her hometown in present day Eastern Germany. But what little hope she still has - make a living, get away from her stalking ex-boyfriend - crumbles as the job opportunity dematerializes before she has even started. She is back to square one of the playing field, and she doesn't know the rules of the game. But Yella is a quick learner. On the spur of a moment, she attaches herself to a slightly shady private equity guy (Devid Striesow, don't miss him in "Eden"). As soon as they take their makeshift investment show to the road, Yella understands that there are fortunes to be won and lost on every deal. There is nothing obviously appealing about this movie: barren sets, uneventful plot, unassuming acting. But as you keep watching and wait for something to happen, Yella's quiet desperation gets to you. In many ways, the movie's gloomy surface is a metaphor of her desolate state of mind. Watch out for Barbara Auer's trophy wife guest appearance, and for a surprise ending reminiscent of William Golding's "Pincher Martin".