Anatomy of a Fall

Director: Justine Triet
Starring: Sandra Hüller, Swann Arlaud, Milo Machado-Graner, Antoine Reinartz, Samuel Theis, Jehnny Beth, Camille Rutherford
Running Time: 152 min.
Rating: R

★★★ ½ (out of ★★★★)

The most important piece of information to know before watching Justine Triet's French legal drama, Anatomy of a Fall, is that eighty percent of it does actually take place inside a courtroom. And while this isn't something that typically occurs on screen, don't be fooled into thinking it's a talky stage play, as it deals with weighty, compelling issues that transcend what could have easily been a dry procedural. Hinging on a scenario common enough to falsely assume it's based on a true story, Triet and Arthur Harari's script, skillful editing and some memorable performances make it feel distinct.

Cerebrally constructed to make every small detail count, we hang on every word during a trial that leaves plenty of room for revelations, false assumptions and ethical questions. That so few moments strain credibility is impressive considering how far into the weeds this goes, examining the situation from multiple angles as our opinion of the protagonist's guilt or innocence shifts. It's what happens when lawyers, police and witnesses are overcome by their bias and a propensity to make broad, sweeping generalizations far outside the realms of law. Transfixing to follow, it highlights the flaws of a broken system that minimizes the chances of justice winning out. That we never truly know if it does just makes this more believable, leaving us to draw our own conclusions.

In an isolated mountain chalet in the French Alps, German novelist Sandra Voyter (Sandra Hüller) is being interviewed by a female student (Camille Rutherford) before she's interrupted by her husband Samuel (Samuel Theis), who's blasting music from the attic, forcing them to reschedule. But it's only a short time later when Sandra and Samuel's visually impaired 11-year-old son Daniel (Milo Machado-Graner) returns from a walk with guide dog Snoop (Messi) to discover his father laying dead in the snow in front of their house. 

As his spouse and the only person present at the time, suspicion immediately turns to Sandra, who contacts her friend and lawyer Vincent Renzi (Swann Arlaud) for counsel. With an autopsy revealing Samuel was struck in the head before his fall, prosecutors embrace the theory she pushed him over the balcony while Sandra's legal team mount a suicide defense. But as information about their volatile marriage comes out and Daniel gives conflicting accounts, a defiant Sandra endures an onslaught of evidence and damning personal attacks on the stand as she fights to clear her name.

With the precipitating fall occurring only minutes into the film, the remainder of its run time is donated to peeling back the layers of this relationship and the psychology driving these characters. In doing that, Triet infuses the trial with a propulsive energy that doesn't let up until the verdict comes in, which doesn't exactly provide the closure those most affected would anticipate. 

When Sandra informs lawyer Vincent she didn't do it, his pragmatic, matter-of-fact response confirms he's the right person for this job, as it's clear their friendship won't factor into how he represents her. Recognizing actual guilt or innocence is irrelevant when they step into that courtroom, he hones a strategy that hinges on the suicide theory, but mostly rests on Sandra remaining credible and composed under the pressure of cross-examination.

There's a performative aspect to the loose, freewheeling courtroom scenes that Triet compulsively captures, reaching beyond forensics when a surprising amount of circumstantial evidence comes to the forefront. And the overzealous prosecutor (well played by Antoine Reinartz) draws controversial conclusions with seemingly far-fetched scenarios that become less fanciful the more we gradually discover about this couple. 

The introduction of an audio recording and accompanying flashback changes the game, putting a new spin on Sandra and Samuel's tenuous union. Their problems look and feel real, born from an inability to reach any kind of compromise at the risk of either potentially losing the upper hand. Even language becomes a contentious issue in a partnership that was on shaky ground years before the fall, with both going through the motions for Daniel, who has a firmer grasp on reality than adults claiming to have his best interests in mind. 

Only when court monitor Marge (Jehnny Beth) is appointed to look after Daniel is he afforded any degree of protection by a system that browbeats an 11-year-old blind boy for misremembering details based on touch and sound. Bravely insisting to be in the courtroom through the lurid testimony, he astutely observes how hearing this might be his only chance at moving on.

Hüller's gut-wrenching, tension filled performance doesn't give a thing away, as there's nothing in Sandra's demeanor or actions that necessarily contradict or confirm anyone's worst suspicions. She's an enigma throughout, or at least until that absorbing flashback, which exposes a jealous Samuel as being more troubled and insecure than originally assumed. Hüller expertly straddles a thin line, with Sandra appearing remarkably steady, but prone to moments of complete emotional collapse when dealing with her son. 

As Daniel, Machado-Graner gives a quietly complex turn that's levels above any recent child performance. Torn between a losing a parent and possibly implicating the other, he's suddenly forced to take on a responsibility well beyond his years, but one he proves capable of handling. Any remaining illusions he had of his parents are shattered before he and his loyal dog eventually provide the biggest piece of this whole puzzle.

Draped in a sophisticated, thought provoking presentation, Triet depicts a kangaroo court where the accused are assumed guilty until proven otherwise. Due to the severity of charges and her reputation as a strong-willed, successful woman, the stakes seem higher as a morally questionable defendant faces an uphill battle against perception. 

Whether Sandra committed the crime is another discussion entirely, but one the film certainly doesn't shy away from when examining all psychological facets of this. Coming to an abrupt stop rather than a tidy end, Anatomy of a Fall leaves audiences pondering when the credits roll, contemplating the question of what a verdict even really means when the event itself leaves this much residual damage in its wake.