SummaryFor the past year, Sandra (Sandra Hüller), her husband Samuel, and their eleven-year-old son Daniel have lived a secluded life in a remote town in the French Alps. When Samuel is found dead in the snow below their chalet, the police question whether he was murdered or committed suicide. Samuel's suspicious death is presumed murder, and S...
SummaryFor the past year, Sandra (Sandra Hüller), her husband Samuel, and their eleven-year-old son Daniel have lived a secluded life in a remote town in the French Alps. When Samuel is found dead in the snow below their chalet, the police question whether he was murdered or committed suicide. Samuel's suspicious death is presumed murder, and S...
As well as an anatomy of a fall director Justine Triet achieves an evisceration of a man. And the evisceration and examination of a marriage, parenting, art, guilt, time, perception and story. And like real examination, the central and starting fall breaks everything open and lays it on the courtroom floor to be picked up and turned over one by one. I was trepidatious about the runtime prior and as the opening develops. Foundational though, exactly as Sandra plays the piano with Daniel, I found my mind talking to itself; wandering to the case, to what was previously discussed, to the way people had chosen to use or not use language. The shot length and deliberate distance to character with some dark or neutral space allows you to ruminate and decode and decide what you think about proceedings in a way you might with someone else at home of watching a trial or a true crime TV show. It’s an elegant and critical factor in this film’s success. I found many powerful and emotionally impacting moments in the construction of scenes, it’s very deft; The way an argument develops, the way a fight is withheld visually and the jarring and acerbic cut to the clinical courtroom. The way the courtroom is alive with lightness and humanity and the people’s own stories between the moments of the trial. The forced and sudden intimacy of strangers in the legal process that then become as quickly and unceremoniously detached. At the close and amidst the unbearable tension of the uncertainty of a child’s mind and the amount of life that rests on the shoulders of some small moments, there is a culmination of the notion pervading throughout the film that the truth doesn’t matter. Now that child has a mother again. Does the truth matter at the expense of that? And does it require to eviscerate one person further to exonerate another?
Anatomy of a Fall is as addicting as any true-crime story, and as riveting as some of the best murder mysteries thanks to a team effort in front of and behind the camera.
Surprisingly gripping for a film devoid of real action, this family drama masquerading as a murder-mystery touches on universal marital tensions; it is both enigmatic and very human.
Part thorny family story, part whodunit, part courtroom drama and part meditation on the nature of truth and fiction, Justine Triet’s Anatomy of a Fall takes two hours of conversations and makes them both provocative and propulsive.
As the cinematic equivalent of an airport read, Anatomy of a Fall is adequate—not brisk but twisty, not stylish but unobtrusively informational. But the artistic failings are obvious and distracting throughout.
The film is emotionally intense from start to finish. Without the need for any action scenes, it maintains a continuous and powerful suspense and desire to understand. It lives up to its title, legally, physically, psychologically and intellectually.
The most striking element of this film is the script. Sandra Hüller takes the script and puts every ounce of passion she has into her character. Her performance is moving and believable. With each scene, she peels back the layers of humanity for all to see. Her portrayal of the character's belief in her own innocence contrasts with the evidence of her husband's death that seemingly condemns her. The surrounding cast plays off of her desperate energy. Her chemistry with Milo Machado-Graner is particularly precious. CONTINUE READING ON LETTERBOXD: ****/66BjTb
What is the deal? Why is everyone fawning over this movie? It’s way too long and NOTHING HAPPENS. it needs editing to take out an hour. But even then it would not be good. I wanted to rename the film “Much Ado About Nothing” but that name has been taken. Don’t waste your time. 2.5 hours I will never get back.