TMS Movie Review: Anatomy of a Fall
(Neon / Le Pacte)
Something I wasn’t expecting from Justine Triet’s newly anticipated drama, Anatomy of a Fall, was the prominent use of an instrumental track of 50 Cent’s 2003 hit single ‘P.I.M.P.;’ which I don’t think I’ve heard or thought about since college. Not only is it a throwback for millennials, but also effectively used in a unique way. The new movie stars German actress Sandra Hüller, who broke through in the US to rave reviews with Maren Ade’s Toni Erdmann (2016) seven years ago, but has mostly kept to European based projects since her acclaimed performance. Now she’s back on film fans’ radars as the lead in Anatomy of a Fall, and is already being considered one of the best female performances of 2023.
It starts as an ordinary, but tense, day in the countryside of France, where German novelist Sandra Voyter (Hüller) and French college professor Samuel Maleski (Samuel Theis) and their blind son Daniel (Milo Machado-Graner) live in a remote, cozy cottage. Sandra’s planned interview with a reporter covering her career is interrupted by Samuel refusing to turn down his stereo. Not long after, Daniel bumps into Samuel’s apparently dead body next to the house while returning home after walking their dog. For the next year, Sandra’s marital issues and weaknesses are highlighted as she’s put on trial as the most likely suspect with every professional pointing to Samuel most likely being pushed out of a third story window.
(Neon / Le Pacte)
Swann Arlaud co-stars as Sandra’s lawyer and Antoine Reinartz appears as the trial prosecutor. The dialogue in the film is primarily a mix of English and French. Anatomy of a Fall is the second collaboration between Triet and Hüller following Sybil (2019), this time with the actress as the clear lead instead of supporting. This is essentially a courtroom drama, and like most decent courtroom dramas, the focus and quality are on the acting more than the outcome or twists near the end of the trial [although the twist here is pretty good itself]. Everyone, but especially Hüller and Machado-Graner, bring their A-game and successfully captures and thrills the viewers for a little over two hours. We are torn between believing Sandra is innocent from her emotions and reactions, while also seeing the opposing defense. We also sympathize with Daniel, who is sucked into both the trauma of his father’s death and his mother’s hearings. Triet’s direction for Anatomy is subtle and subdued, yet works well not being too indulgent or distracting from the actors and characters. Outside of the 50 Cent tune, the lack of music is appropriate. The portrayal of the French court system is amusingly soapy and there’s a goofy link with the URL ‘didshedoit’ before the studio fanfares. But along with Martin Scorsese’s Killers of the Flower Moon, Anatomy of a Fall kicks off Oscar season nicely.