Yella has decided to leave her small town in eastern Germany for a promising job and a new life on the other side of the Elbe, leaving behind a failed marriage and broken dreams. In Hanover, Yella meets Philipp, a young executive at an equity firm, who gives her a job as his assistant.
Although she has no knowledge of the world of venture capital, steel-andglass offices and discretely-lit hotel lobbies, Yella soon discovers she has a knack with ruthless businessmen. Negotiations become a thrilling game of quick wits in which Yella’s looks and icy demeanour are major assets. Yella sees a potential future with Philipp. He is serious, determined, and his goals could become shared projects. It seems ambitious Yella could finally get everything she has ever wanted.
But strange voices and sounds are plaguing Yella – truths from her past coming back to haunt her. She begins to worry that her new life could be too good to be true. She’s determined to keep her eyes open – because those who sleep could well experience a rude awakening. —Berlinale
Christian Petzold was born September 14, 1960, in Hilden, as the oldest of three sons. He grew up in Haan, where he went to school and finished his high school degree in 1979. After finishing civil service, Christian Petzold went to Berlin in 1981 and started to study German studies and dramatics at Freie Universität Berlin. After his graduation in 1989, Petzold continued to study at Deutsche Film- und Fernsehakademie Berlin (dffb). During his studies, Christian Petzold worked as an assistant director for Hartmut Bitomsky and Harun Farocki – who contributed to all of Petzold’s later feature films – and worked as a film critic for several newspapers and magazines.
After several short films, including Süden and Das warme Geld, Petzold finished his graduation film for dffb, Pilotinnen, in 1994. The film production company Schramm Film Koerner & Weber participated in the production of Pilotinnen and Petzold continued to collaborate with the… read more
Compared to Barbara, this movie operates with cruder slashes, but that's no problem, makes the unpredictable, threatening atmosphere stronger. I liked the instrumentalized depiction of the characters: since Yella is in danger, she instincively helps any man she thinks can protect her, and they use her in turn. It's OK to end the movie like this, though they could have just dispensed with all the unreal elements.
Something to be thankful for while they're still around: Magazines. Of course, in one form or another, there will likely always be magazine