Anatomy of a Fall Film Review

“The following content may contain suicide or self-harm topics.” This warning greets viewers before they dive into the official trailer for the North American release of “Anatomy of a Fall” on YouTube. While it may appear as stock phrasing, it carries profound implications. The central question that lingers is whether Samuel’s death was self-inflicted or orchestrated by his wife, Sandra. Even the content warning itself cannot definitively answer this question.

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Co-written and directed by Justine Triet, “Anatomy of a Fall” earned the prestigious Palme d’Or at the Cannes Film Festival this year. It’s a film that delves into the world of legal procedure, a somewhat unexpected recipient of an award often reserved for avant-garde works. The narrative revolves around Sandra Voyter, a successful German author (Sandra Hüller), who relocates with her French husband, Samuel (Samuel Theis), and their 11-year-old son, Daniel (Milo Machado Graner), to a secluded residence in the picturesque, snow-covered French Alps. The story unfolds when Daniel, who is blind, discovers his father unresponsive and bleeding in the snow after taking a walk with his dog Snoop. From this point onwards, the wheels of justice begin to turn as authorities attempt to ascertain whether Samuel’s “fall” was indeed a jump or the result of some influence exerted by Sandra.

Language as a Thorny Issue

Language plays a pivotal and intricate role in this narrative. Sandra’s struggle to adhere to the French language could potentially disadvantage her in the eyes of the court, setting her apart as an outsider. This language barrier was not only a courtroom concern but also a source of tension within her marriage. Lacking a shared first language, Sandra and Samuel resorted to communicating primarily in the “neutral” language of English.

In terms of plot, the film does not shy away from these linguistic complexities. It immerses the audience in minor issues that either remain unresolved, appear inconsequential, or could potentially complicate the storyline. From a scriptwriting perspective, one might suggest that these scenes should be omitted, as they are not significant drivers of the plot. There’s a court-appointed companion for Daniel whose role is to ensure that his testimony remains uninfluenced by those who might have influenced him the most. There’s a hint of an unexplored romantic backstory between Sandra and her lawyer. Even the language barriers, as mentioned earlier, might be perceived as superfluous complications. However, the inclusion of these details creates a tapestry that vividly portrays the myriad imperfections in the justice system, human behavior, and life itself.

Considering the vast scope of the film within its two-and-a-half-hour runtime, one might expect a slow-paced narrative. Surprisingly, the editing maintains an excellent pace. Even a lengthy argument between Sandra and Samuel feels essential in its entirety. This scene, in many ways, is the linchpin of the film, offering the audience a glimpse into the deteriorating nature of their relationship, which culminates in Samuel’s tragic fate the following day.

The Role of Music in Character Development

One of the film’s masterful elements involves Sandra and Daniel’s connection with music, particularly the piano. Justine Triet employs these musical interludes to communicate the characters’ emotional states, comprehension, and intentions. After Daniel alters a detail of his account to the police, potentially to shield his mother, he sits at the family piano and plays a frantic melody. Sandra approaches him and introduces a slower, equally somber tune. It’s a methodical, slow burn. Is she teaching Daniel how to navigate dark waters with composure? Later, when Daniel finds some assurance about his role in the legal proceedings, he plays his version of a slow melody. Unlike his mother’s, his rendition lacks the moody or cunning undertones; instead, it exudes determination with notes of hope.

Subtle Portrayal of Violence

In most cases, a film dealing with the physical violence surrounding Samuel’s death would sensationalize it in the hands of a different director. However, Triet’s focus is on what she aptly describes as the “civilized violence of the prosecution” and the intricate mechanisms of the justice system. As a result, “Anatomy of a Fall” might not be as visually memorable as some other Palme d’Or winners. Still, many will appreciate it as an example of a finely balanced film. The entire cast delivers remarkable nuanced performances. Hüller, in particular, employs subtlety to keep the audience teetering on the edge of understanding Sandra’s guilt or innocence. In contrast, Graner, a young actor, displays emotions well beyond his years. Even Theis, in his brief appearance, provides a suitable counterbalance to Hüller’s performance.

Conclusion

“Anatomy of a Fall” is a thought-provoking and intricately crafted film that challenges its viewers to question the boundaries of guilt and innocence in the context of a tragic death. Through the lens of language barriers, it highlights the imperfections of the justice system and human relationships. The film’s masterful use of music and its subtle approach to violence make it a unique and compelling cinematic experience. While it may not be the most visually striking Palme d’Or winner, it stands as a prime example of a well-balanced and expertly executed film. With its compelling narrative and exceptional performances, it deserves recognition and contemplation, earning a solid rating of 8/10.