Pluskylang Great Film overall

Console best movie i've ever seen.

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Francene Odetta It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Horst in Translation (filmreviews@web.de) "Verfolgt" or "Hounded" or "Punish Me" (definitely the worst of the three titles) is a German German-language black-and-white film from 2006, so this one had its 10th anniversary last year. It is among the more recent works by director Angelina Maccarone and according to IMDb the only writing effort by Susanne Billig and sadly her name depicts the truth here as "billig" means "cheap" in German. It is a pretty cheap film I must say, cheap thrills, cheap story and cheap overall pretty much. I cannot agree with the film's awards attention, neither as a whole nor for the pretty overrated Maren Kroymann. The fact that she still stands out here has nothing to do with her being good, just with the rest being bad. Actually the actor who plays he husband (Austrian Markus Voellenklee?) was at least as good, just did not have the material to shine. But of course Kroymann shines next to a truly limited actor like Kostja Ullmann who kept ending up a decade ago in films where he had affairs with older women. And after Marie Bäumer they apparently get older and older. Now people may mistake him for being a talented German actor, but he is no such thing and he probably never will be. The only reason he is somewhat famous are his exotic looks and the fact his characters keep getting humiliated in movies, physically and emotionally.I had no problem with this being a black-and-white films. On the contrary, I like modern b&w films and it somehow fit the atmosphere as well I think. The ending was decent okay. But I had a problem with the story on so so many occasions. Realism was completely sacrificed when the probation officer and the boy enter into a SM relationship. I mean an affair okay, I maybe could have accepted that, even if a one-sided crush would probably have been the closest thing to reality. But when Kroymann's character gets out her whip, nothing is working anymore in terms of authenticity. I almost felt bad for her in that situation. This is absolutely not art anymore. So yeah, the core plot is messed up, but there are also minor plot developments including supporting characters that don't make sense, like the other boy who we are supposed to think is a friend of Ullmann's character, but then he beats the crap out of him on one occasion. If he ignored him okay, but well the path they took wasn't working. Or the cringeworthy desperate almost-ending with the last meeting and the ticket to Brazil reference. Ullmann showed everybody in this scene how bad he really is. And they missed out on making at least the marriage story more memorable, the only one where they had two decent actors that could have elevated the material overall. As a whole, this is a contender for worst German movie from 2006 looking at everything I have seen. It is not void of decent quality as you can see from my review, but the lows are just too low to give this one anything more than 1 star out of 5. Stay far far away.

Bofsensai Seen English subtitled means I wouldn't normally review a non English language film, as in judging you may miss the nuances imparted in the original language: (e.g. at one time, young Jan is told by his bemused 'cougar' to remove his 'underhosen', translated in my copy as 'drawers'; which is unintentionally amusing because in English, drawers are not only resolutely female, but dated back to early Twentieth Century use!): however, although cinematically this is otherwise, rather run of the mill (dull monochrome, representing the dreariness of post wall fall Germany?) boy meets gal = woman, loses .. standard romance, but with twist in that, really, it's the subject matter explored that demands the attention, being in effect the corollary of those Stateside overtly patriarchal s&m focused '50 Shades', '91/2 Weeks', 'Secretary' and the likes. By which, the state the obvious English translated title more salaciously but essentially misrepresents this exploration of the S&M theme, since its original proper German title more insightfully sums up what is to unfold i.e. as more accurately translated as 'Pursued' (even rather than 'Hounded'): in which frame of mind, it well deserves a watch with full credit especially to young Kostya Ullmann playing an insouciant recalcitrant sixteen year old (although actually 22 by then) in what must have been a difficult pitch to portray as enamoured of not only a male finding pain awakening him from his prior crime-life existence, but that to be inflicted by elder woman! I.e. yes, a sort of classic F/M S&M scenario: this is even more arresting in knowledge that two women concocted the plot (big kudos then to writer Susanne Billig, as realised for the viewing by director Angelina Maccarone.) Then, Maryann Kroyman, well portrays the initially quite confident, authoritative probation officer, with stern (German like!) commands to the reformed youngsters she's charged with supervising, yet whom is at first mystified, uncertain at her potential inner sadist that her charge begins to unexpectedly arouse in her, so to later deliver an excellent line to her husband to indicate how such role can manifest and awaken a previously patriarchally suppressed passion - this particularly pointed, too, when earlier he had callously advised her that his adultery is 'nothing - just sex', yet when confronted by her desire - (which is even 'not sex'!) - he hypocritically berates her for her own awakening desires. By which, her final doomed, hopeless realisation scene is painful to behold (Maccarone should have held the camera shot even longer, though) - sorta reminiscent of the famed finale of Bob Hoskins in 'The Long Good Friday'. Well worth double (treble) billings with those other chastisement S&M films (e.g. given above), and for its bravery to broach a still mostly completely unacknowledged sexual penchant in mainstream cinema. (Although on that changing and for the younger generation too, see Larry Clark's recent 'Marfa Girl'.)

Chris Knipp Angelina Macarone's 'Puhish Me' (US title: German title is 'Verfogt,' Hounded) is another German short film released by the sadly defunct Picture This!, like Thomas Stuber's excellent 'Teenage Lust.'. Its topic is how a 50-year-old counselor becomes involved in a sadomasochistic relationship with one of her 16-year-old charges that he imposes on her; it's one of several Picture This! releases that might sound like exploitation, but is clear-eyed analysis. The narrative develops not in terms of titillating acts but as a fulfillment of mutual needs that both have but neither understands. The excellent performances of Maren Kroymann as the woman and Kostja Ulmann as the boy are very convincing. The film-making lacks the art of 'Teenage Angst,' but that plainness contributes to the sense that this is ano-nonsense look at a taboo subject -- an approach more likely to be seen in a small European film than in any American product, and a work of interest salvaged from the Locarno Festival secondary competition by Picture This!. This is the first time I've seen S&M in a film depicted in a way that truly made me relate to the participants and try to understand them, see them as acting out a raw deeply personal need rather than merely role-playing.'Punish Me' is a recent release by Picture This!, the indie distributor of mostly foreign coming-of-age and gay-related films (e.g. 'Garçon Stupide,' 'Come Undone,' 'Aimée and Jaguar,' 'Before the Fall') that as of Nov. 2009, after 13 years, has closed its doors. This and Stuber's 'Teenage Angst' are just two examples that Picture This! is a niche loss that will be felt both by viewers and by the industry.

gradyharp PUNISH ME (VERFOLGT), aptly photographed in rich black and white, is a deftly made German film that raises as many questions as disturbing thoughts, a film that in every definition is a film noir - and a superb one at that. Writer Susanne Billig and director Angelina Maccarone (note: two very talented women!) have concocted a tale of disparate matching between a 50-year-old woman and a 16-year-old boy, a relationship that builds on sadomasochism as a means of filling voids in each character. The story could easily have become 'sensational' in less sensitive hands, but here, with the sound help of a superb and wholly credible cast, it asks us to examine the extremes to which people will go to feel complete.Jan Winkler (the gifted and inordinately handsome Kostja Ullmann) is 16 and on probation for petty crimes. He is assigned to parole officer Elsa Seifert (the fine actress Maren Kroymann), a 50-year-old frustrated woman in a marriage that has stagnated. Jan feels a strange attraction to Elsa, an act that at first Elsa rebuffs and discourages but gradually becomes fascinated with the attention and seductive behavior of the young Jan. Committed to helping Jan she manages to talk her husband into employing Jan at his car repair shop the two males strike up a friendship. In a series of subtle episodes Jan suggests his need for 'structuring' to Elsa: what he needs is Elsa to punish him physically, and when Elsa complies she is attracted to the process of sadomasochistic behavior (as the Dominatrix) as well as to the tenderness that always follows their dark sessions. Elsa's husband discovers his wife's relationship with Jan while Jan's friends uncover the secret, and the resulting behavior and recriminations flesh out the surprising ending.Both Ullmann and Kroymann are outstanding in these difficult roles and manage to maintain our empathy and understanding throughout the story. Both are exceptional actors and both have compelling screen presence. The cinematography allows us to once again remember how powerful black and white film can be. This is a film that some may find difficult to view (sadomasochism, teenage/older woman 'romance'), but the director keeps the story in tight rein and the result is a powerful tale of need and love and the sticky path that often joins the two feelings. In German with English subtitles. Recommended. Grady Harp