Anatomy of a Fall

Excelente obra que juega con nuestra percepción y nos pone en el lugar de juez y jurado.

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?