I have not seen the highly praised films of French director Justine Triet. They are titled The Battle of Solferino and Sibyl’s reflection. There has been such an abundance of releases in recent years that I don’t have the time (nor the desire, if I’m honest) to continually discover genius with an author’s seal. Since I deserted film festivals a long time ago, I also do not have the privilege of attending live the baptism of so many films of essential viewing and consequent delight according to the infinite exegetes that inhabit the festivals. I see just enough of that majority cult cinema and too many times I continue to wonder where its charm lies or regretting my eternal myopia in the face of so many works of art.
Anatomy of a fall, directed by Justine Triet, won the Palme d’Or at the last Cannes festival. And I observed that they made references and comparisons, not only for the title, but also for the plot, with an incontestable masterpiece that he signed Otto Preminger titled Anatomy of a murder. That is, big words. And I admit the similarity in that there is a death (or a probable suicide, or an accidental fall in the case of the French film) and in that everything is very murky to clarify the motivations and circumstances of those who were accused of murder. But, saving those plot similarities, I am clear that I will continue to frequently marvel at Anatomy of a murder and I don’t need to review anything Anatomy of a fall.
That comparison does not invalidate the second one for me. I follow with relative interest and some tiring moments the story of that woman who is accused of having killed her husband. It takes place in a house in the French Alps. At first, it seems obvious that it was an accident or that she committed suicide. The only witness seems to be the couple’s son, who is a blind child. Later, data appears that incriminates the wife. There is a long trial, with which the media circus rejoices, in which the dark and continuous moments in the relationship between that couple, both writers of autofiction, that fashionable genre, come to light. Also several flashbacks in which they tell us about their fights, an endless crisis, the old and renewed mutual and abrasive reproaches, a twisted and destructive relationship for too long.
Nothing is what it seemed, Justine Triet tells us, everything is complex and murky, but in the midst of so much psychologism, there are things that I don’t quite understand. I don’t know if it’s because of my mental weakness or because they don’t tell me well. And praise rains down on Sandra Hüller’s performance in a character that aims to be mysterious, ambiguous, secret, cold, intellectual, adulterous, bisexual, cerebral, angry in one of the few emotional explosions that is allowed. This actress can inherit the throne of European actresses shared by Isabelle Huppert and Tilda Swinton. I do not doubt the great quality that all three possess. But I find them unfriendly, regardless of the roles they play. There is something about them that distances me, that makes me feel uncomfortable with her presence. And I am convinced that a large part of the appeal of cinema is a function of those faces, presences, personalities, attitudes that magnetize you, people you like to see and listen to.
Anatomy of a fall
Director: Justine Triet.
Performers: Antoine Reinartz, Milo Machado Graner, Samuel Theis, Sandra Hüller, Swann Arlaud.
Genre: Drama. France, 2023.
Duration: 2 hours and 30 minutes.
Premiere: December 6.
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