'Anatomy of a Fall': A Story of Morals

"Justine Triet's 'Anatomy of a Fall,' a cerebral trial drama, kicks off with a mysterious demise amid the picturesque backdrop of the French Alps. Samuel, an aspiring writer played by Samuel Theis, meets his end, and suspicion points towards his accomplished novelist wife, Sandra, portrayed by Sandra Hüller.

The film unfolds, navigating through investigation, tribunal, and verdict, all while fixating on the question of Sandra's guilt rather than delivering a clear-cut answer.

Sandra, portrayed as stoic and somewhat aloof, becomes the subject of scrutiny. Triet, along with screenwriter Arthur Harari, skillfully invites the audience to dissect the flaws of this seemingly average woman. The narrative explores Sandra's complexities, from her drinking habits to her need for intimacy, challenging the prosecutor's portrayal of her as the aggressor.

The film's intrigue deepens as Sandra's most baffling trait is revealed – her ability to nap while her husband's final hours are consumed by an earsplitting rendition of 50 Cent's 'P.I.M.P.' The motive remains elusive, with Sandra's lawyer countering suggestions that the song's misogynistic lyrics bothered her, emphasizing that it was an instrumental version.

'Anatomy of a Fall' asserts that all individuals are enigmatic, even to themselves. The film suggests that if we were all forced to defend our contradictions and hidden truths, we might be convicted of irreconcilable contradictions, though still a lesser crime than murder. Sandra finds herself confessing her inner conflicts in a courtroom where rationalizations float as whimsically as circus balloons.

While the film doesn't belabour the point, it subtly explores the idea that life is an anthology of conflicting narratives, with every marriage shaped by two storytellers. This theme resonates through Sandra and Samuel's books, which blend biography and fiction, blurring the lines between reality and imagination.

As the experts take the stand, the cinematography, under Simon Beaufils, transitions from a composed style to a dynamic, on-the-fly documentary approach. The whiplash effect is dizzying, especially as witnesses navigate questions from both the prosecution and defence.

The pivotal judge in the room is the couple's preteen son, Daniel, partly blind due to an incident that plays a role in the case. Daniel's visual impairment becomes a metaphor for the struggle to perceive the truth. His self-taught piano skills, mirroring the process of trial and error, provide a poetic allusion to the passage of time.

Triet's deliberate filmmaking style, unconventional for a story about ambiguity, leaves the viewer to decide Sandra's guilt. Hüller's nuanced performance adds depth to Sandra's character and even the actress herself remains uncertain about her character's actions.

Triet leads us down a path to nowhere, leaving the answer to Sandra's guilt in the hands of the audience. The filmmaker adds feints and discrepancies, shared only with the viewers and the deceased, contributing to the film's enigmatic nature.

Triet's 'Anatomy of a Fall' challenges the audience to grapple with the ambiguity, and, much like the film's conclusion, leaves us with unanswered questions that linger long after the credits roll.