Anatomy of a Fall

In selected cinemas from 8th November

Justine Triet’s meticulous courtroom procedural has generated plenty of buzz since being awarded the 2023 Palme d’Or and, despite its testing running time, it’s fair to say that the praise is well deserved. Co-written by Triet and Arthur Harari, Anatomy of a Fall is centred on Sandra Hüller’s novelist and the accusation that she murdered her husband (Samuel Theis), whose body is discovered by their blind son (Milo Machado-Graner).

What ensues from this opening salvo is an assiduous examination not only of the murder case, but also the marital dynamic between Hüller’s widow and the deceased. In both senses, Triet and Harari’s screenplay leaves no stone unturned, diving deep into the academic and economic inequalities that can cause a relationship to fissure, and how contemporary society consumes ‘true crime’ stories of this nature. Regarding the latter examination, Triet and cinematographer Simon Beaufils’ use of oscillating visual styles gives the film one of its most intriguing qualities, such is the manner in which it seamlessly switches from a more traditional cinematic aesthetic to the sort of frantic and pursuant style favoured by news broadcasters.

However, the greatest asset of Anatomy of a Fall is undoubtedly the quality of its acting, with Hüller delivering an extraordinarily authentic performance that is deservedly garnering awards buzz. Nonetheless, while it is her stellar work that provides Triet’s picture with its dramatic anchor, it is certainly not the only display worthy of note, with Swann Arlaud and, in particular, the aforementioned Machado-Graner standing out.

Any tale involving dead bodies and suspected foul play will leave audiences longing for twists and turns, but Anatomy of a Fall is an admirably grounded affair that remains committed to exploring the complexities of the societal dynamics that lie at its epicentre, and is all the more memorable for it.