| Review:
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When the term 'lost in translation' is tossed around,
that particular dilemma can amount to a whole lot more than
just inadequate subtitles in a movie. The German metaphorical
Reunificiation thriller, Christian Petzold's Yella, is more
than a case in point. The political nuances of this likewise
psychologically dense road movie are so specific to Germany's
recent historical past, that the film - in its own split
personality way, along with the schizophrenic tendencies
of some of the characters - may very well come off seeming
like two entirely different films, depending upon the international
zip code of the particular audience.***
Nina Hoss is Yella, a morose and ambitious young accountant
in contemporary times who makes plans to depart to West
Germany from her economically depressed East German town,
and from her clinging electrician turned failed entrepreneur
estranged husband, Ben (Hinnerk Schonemann). While Ben persistently
stalks and occasionally assaults Yella, attempting to force
her to stay, the determined woman finalizes an agreement
with a prospective West German businessman who turns out
to be shady and predatory.***
But before arriving in the West, Yella makes an ill-advised,
reluctant decision to accept a ride to the train station
from her insistent, volatile ex-spouse. And he sends the
car careening into the Elbe River - a continuing symbolic
demarcation that once signified a border between the formerly
divided GDR and West Germany.***
Yella miraculously survives the accident, swims to
shore and proceeds to the train with her soggy baggage.
But further troubles await Yella, as she becomes entangled
in apparently routine corrupt business dealings in the West.
She also encounters a handsome and charming venture capitalist
hustler Philipp (Devid Striesow), who schools her in the
devious methods of ripping off your economic targets, while
they in turn are shrewdly encircling you for exploitation
and sophisticated thievery.***
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