Yella (12A)
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Yella, by the German director Christian Petzold, is a little easier to pigeonhole as a chilly European drama, but it's also distinctively uncanny. Its accountant heroine, fleeing a nasty encounter with her ex-husband, teams up with a bullish speculator who enlists her help in playing psychological games at business meetings. Stranded in a claustrophobic nowhere-zone of business parks and autobahn hotels, the couple bond over spreadsheets. But behind these sleekly soulless manoeuvres, something creepily metaphysical is stirring.
Yella plays like a German take on Antonioni, infused with the taciturn toughness of a David Mamet con-game story – but ultimately it's far weirder. Its star Nina Hoss is charismatically scary, in turns icy, simmering and glassily inscrutable. Not exactly box-office, perhaps, but if you relish the rare thrill of cinema striking out into the unknown, then Yella and Syndromes are films you shouldn't miss. And neither should Paxman.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments