Like a drug, Yella slowly creeps on you long after the end credits roll, takes hold of your body and doesn't let go until you're convinced it was one of the best films this year's Berlinale had to offer. Wicked in the way it plays mind games with the audience, director Christian Petzold (Ghosts) has confirmed he's definitely one to watch, creating a sharp and daring film that never unveils its true colors until the very last frame. And, even then, we're still not sure how all the pieces fit together -- overcome by the greatest feeling a moviegoer could ask for: the need to watch it again ... and again.
When we first meet Yella (Nina Hoss), she's walking a familiar route between the train station and her home. However, she's afraid of something, someone -- hiding behind her long brown hair, almost uncomfortable in the clothes she wears; in the person she's become. We soon discover she's being followed (a pervert, perhaps?), but it's revealed that the man in the truck is an ex-lover, someone Yella is desperate to allude. He's anxious to speak with her -- wavers between anger and sweetness -- but Yella will have none of it; her silence telling us all we need to know: that this guy is bad news.