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| Justine Triet: Anatomie d'une chûte / Anatomy of a Fall (FR 2023). |
Putoamisen anatomia / Fritt fall.
FR 2023. PC: Les Films Pelléas, Les Films de Pierre. Co-PC: France 2 Cinéma, Auvergne-Rhône-Alpes Cinéma. P: Marie-Ange Luciani and David Thion. Ass. P: Philippe Martin.
D: Justine Triet. SC: Justine Triet and Arthur Harari. DP: Simon Beaufils - colour - 1.85. PD: Emmanuelle Duplay. Cost: Isabelle Pannetier. S: Julien Sicart, Fanny Martin, Jeanne Delplancq, Olivier Goinard - 5.1. ED: Laurent Sénéchal.
Ass D: Benjamin Papin. Assoc P: Philippe Martin. Prod. Manager: Julien Flick. Continuity supervisor: Clémentine Schaeffer. Casting : Cynthia Arra. Loc. Manager: Benjamin Goumard.
CAST:
Sandra Hüller / Sandra Voyter
Swann Arlaud / Maître Vincent Renzi, lawyer, Sandra's ex
Milo Machado Graner / Daniel Maleski, the son of Sandra and Samuel
Antoine Reinartz / l'avocat général / the prosecutor
Samuel Theis / Samuel Maleski
Jehnny Beth / Marge Berger, Daniel's companion
Saadia Bentaïeb / Maître Nour Boudaoud, Sandra's second lawyer
Camille Rutherford / Zoé Solidor, student
Anne Rotger / la présidente du tribunal / the judge
Sophie Fillières / Monica
Messi / Snoop, Daniel's guardian dog
Nesrine Slaoui : la journaliste de BFM TV
Antoine Buéno : Balard, un expert
Wajdi Mouawad : Jammal, le psychiatre
Sacha Wolff : le chef de l'enquête
Kareen Guiock : la présentatrice de télévision
Arthur Harari : le critique littéraire
Loc (France): Wikipédia: Le tournage a lieu en mars et avril 2022 en Savoie dans la vallée de la Maurienne (à Villarembert, à Fontcouverte-la-Toussuire, Saint-Jean-de-Maurienne et Saint-Léger), en Isère (à Montbonnot-Saint-Martin et Grenoble) et en Charente-Maritime, notamment au palais de justice de Saintes en avril-mai 2022. - IMDb: Les Crevasses, Villarembert, Savoie, France. - Saintes, Charente-Maritime - Grenoble, Isère. 3 March - 26 April 2022.
In French, also in English, and additionally in German.
Sous-titres francais: Anaïs Duchert.
151 min
Festival premiere: 21 May 2023 Cannes. International Sales: mk2 films
Paris premiere: 14 June 2023
French premiere (wide): 23 Aug 2023. Visa number : 155.638. French Distribution: Le Pacte
Finnish premiere: 9 Feb 2023.
Viewed at MK2 Odéon Côté St Michel, Saint-Germain-des-Prés, Métro Odéon, 7 rue Hautefeuille, 75006 Paris, 17 Feb 2024
Press kit: " For the past year, Sandra, a German writer, her French husband Samuel, and their eleven-year-old son Daniel have lived a secluded life in a remote town in the French Alps. When Samuel is found dead in the snow below their chalet, the police question whether he committed suicide or was killed. Samuel's death is treated as suspicious, presumed murder, and Sandra becomes the main suspect. Little by little the trial becomes not just an investigation of the circumstances of Samuel's death, but an unsettling psychological journey into the depths of Sandra and Samuel's conflicted relationship. "
AA: The Shining in the French Alps.
Anatomy of a Fall is another great French courtroom drama within a year, following Alice Diop's Saint Omer.
It also belongs to the cinema's all-time best courtroom dramas. The title evokes an eminent predecessor, Otto Preminger's Anatomy of a Murder, but Justine Triet is not following models. One of the rewards of the movie is the account of the French practice of law and justice, different from the American one.
Anatomy of a Fall is a good trial drama and police procedural. Most profoundly, it is an anatomy of a marriage. At the heart of the mystery is the fact that an outsider can never truly understand what goes on in a relationship.
It is also a good thriller, suspenseful to the end about finding out who is guilty. For Justine Triet, in the tradition of F. M. Dostoevsky, the question "who is guilty?" has two levels. If the name of the guilty one is known, the true question still remains.
Exceptional performances, by Sandra Hüller and Milo Machado Graner especially, keep growing in memory. The sense of place in the location shooting in Savoie is essential to the fabula in many ways.
I am thinking about The Shining, another unhappy family trio in a fabulous snowbound mountain landscape. The male protagonist's hellish writer's block is the main link. Otherwise it's as different as can be.
The husband is French, the wife is German, and their main language - "the middle ground" - is English. Both are writers, professionals of language. Language is all important, especially the mother tongue, the original language of love. My personal conviction is that in a love affair across language barriers, both should learn the other's native language. It comes from beyond consciousness. It is beyond words. In today's world, all of us who are not native speakers, speak bad / mediocre English that fails to convey our true self, including me here. We are different beings, our true self is only revealed in our native language. Anatomy of a Fall is also about the fall of language.
BEYOND THE JUMP BREAK: FROM THE PRESS KIT: INTERVIEW WITH JUSTINE TRIET:
What was the starting point for Anatomy of a Fall?
My intention was to create a film that portrays the downfall of a couple's relationship. The concept was to depict the physical and emotional descent of a body in a technical manner, symbolizing the decline of their love story.
This couple has a son who discovers their tumultuous relationship during a trial that scrutinizes every aspect of their past. As the trial unfolds, the boy transitions from a state of complete trust in his mother to one of doubt, marking a crucial turning point in his life. The film follows this transformation closely. In my previous films, children were present but silent, merely existing in the background. However, in this film, I wanted to incorporate the child's perspective into the narrative and juxtapose it with Sandra's, the main character, for a more balanced portrayal of the events.
The film took on the form of an extended interrogation, with scenes shifting from the couple's home to the courtroom, where characters are incessantly questioned. I aimed to bring a sense of realism, approaching a documentary style both in the writing and the cinematography. However, I also wanted to delve deeper into the intricacies of the story and evoke a range of emotions in the audience. In pursuit of this goal, I opted for greater simplicity: the absence of additional music and a raw, unembellished tone that sets this film apart from my earlier works.
The film begins with a disorienting shot of a ball rolling down a flight of stairs…
This obsession with falling is a recurring motif throughout the film, initially in a literal sense. I've long been fascinated with the sensation of "body weight" and what it feels like to fall, which was sparked by the opening credits of Mad Men, where a man keeps falling. In my film, we constantly ascend and descend stairs, observing the fall from various angles to unravel how it happened. I wanted to approach the film from a side angle, which is why we introduced the ball as a symbol of the fall, caught by a dog who looks at Sandra, the central character, and sets the stage for the two and a half hour exploration of her story.
The battle of the couple with a child is at the center of the film…
At the heart of the film is the battle between a couple with a child, delving into the complexities of time-sharing in a relationship. It's a theme that, in my opinion, isn't often explored in cinema and raises important questions about reciprocity, trust, and the dynamics of a partnership.
Sandra Voyter, a successful writer, and her husband, a teacher who also writes while homeschooling their son, challenge the traditional couple schema by reversing their roles. Sandra's pursuit of her freedom and will creates an imbalance, leading to an exploration of equality in a relationship that is both powerful and questionable. The film invites us to question our preconceived notions of democracy in a relationship and how it can be derailed by dictatorial impulses and a dimension of rivalry. Despite their struggles, the couple's idealism and refusal to resign themselves to a less-than-perfect situation is admirable. Even in their arguments, which are actually negotiations, they continue to be honest with each other, revealing a deep love that persists despite their challenges.
You co-wrote with Arthur Harari. The script is not adapted from a real story, yet it is full of details, especially legal details, that seem more real than life. Did you call on experts?
Yes, Arthur and I co-wrote the film together, really sharing the work. And we received valuable guidance from a criminal lawyer named Vincent Courcelle-Labrousse. We consulted with him frequently to ensure accuracy in the technical aspects of the story, as well as to gain a better understanding of how French court hearings are conducted. What surprised us was the somewhat disorganized nature of trials in France, which differed greatly from the more structured approach seen in the United States. This allowed me to create a distinctly French film and take a different approach from the more spectacle-driven American courtroom dramas. The decision to present uninterrupted blocks of hearings was a natural one. During post-production, I spent considerable time working with my editor, Laurent Sénéchal, to slow down the pace, keep shots imperfect, and maintain a slightly shaky, raw feel to the film. I didn't want it to be too polished or predictable. In the end, I discovered a new formal pleasure in making this film.
And you wrote specifically with Sandra Hüller in mind, didn't you?
I was eager to collaborate with her again, following our work on Sibyl. I wrote the script with her in mind, and that was one of the initial things that sparked my interest. This liberated woman, who was judged for her sexuality, her career, and her motherhood: I believed Sandra would bring complexity and depth to the character, without making it a mere "message". As soon as we started to shoot, I was struck by her conviction and authenticity. She infused every line with a sense of reality that emanated from within her. Sometimes, she even challenged my writing and pushed me to revise certain scenes. She has a palpable presence, and her interpretation of the role left a lasting imprint on the film. By the end of the shoot, I felt as though she had given a part of herself to the project, and that what we captured was a one-of-a-kind performance.
The use of different languages - French, English, and German - adds a layer of complexity to Sandra's character and creates a sense of opacity…
It also maintains a distance between her and the audience as a foreigner on trial in France, who must navigate her way through the languages of her husband and son. Sandra is a complex character with many layers, which the trial will explore. I was particularly interested in portraying the life of a couple who do not speak the same language. This made their negotiation even more concrete, with the idea of a third language serving as neutral ground.
And did you have Samuel Theis in mind since day one?
No, I saw a lot of actors for the role but, believe it or not, the character was already named Samuel! Even though he doesn't have many scenes, he's essential to the story and had to capture our attention immediately. I have to admit, I find him very attractive, with a captivating voice and a soft exterior that hides a deeper, denser layer. I wanted to film him because he has a certain thickness that I love in actors - both physical and internal layers that make for a compelling performance.
And Milo Machado Graner, who plays the child, was he hard to find?
Yes, it was a lengthy process. Cynthia Arra — my long-time collaborator when I work with my actors — and I spent four months casting visually impaired children, but we couldn't find the right one. So, we expanded the search to sighted children for another three months before we finally found Milo. Jill Gagé, a casting assistant, discovered him, and he immediately impressed us with his natural talent. Milo dedicated himself to intensive piano lessons, and together with Cynthia, we consulted with experts in visual impairment to determine the appropriate level of impairment for the character. We decided to go with a mild level of visual impairment, with high myopia that didn't affect peripheral vision. Milo is an incredibly gifted child with exceptional intellectual and emotional capacities and a subtle sense of melancholy.
It's clear that there's a real love of language and verbal sparring in the courtroom scenes, and Antoine Reinartz has a lot to do with that. How did you come to cast him in the role?
I chose him because of the modernity he brought to the character. He adds an otherness to the film and brings the contemporary world into it, which breaks the dusty solemnity of the trial. Although he plays the villain, he portrays a very seductive, devious, and flamboyant character. He speaks on behalf of the deceased, whom we hardly ever see, and must make him endearing to both the jurors and the audience. Antoine brings an arena dimension to the court and portrays the civilized violence of the prosecution.
On the contrary, Swann Arlaud plays a rather fragile character, sensitive, on the defensive...
Yes, I didn't want to stage a cockfight between them. Vincent's character is not portrayed as a bar virtuoso, he is good but not idealized. Swann brings a nuanced performance, an apprehension, because he knows his client and feels more in danger. I found it interesting that he is a kind of doppelgänger of Samuel, that the two share some similarities. It's clear that Sandra and Swann knew each other years ago, and that there is still something between them that is not entirely extinguished.
Vincent Courcelle-Labrousse, our consulting lawyer, had advised us that when friends ask you to defend them, it’s always a trap. This idea of a trap, or at least a difficult or impossible distance to overcome, was important for the dynamic of this duo. It's clear that something else is going on, and Sandra probably needs that support. Swann is great at bringing all these dimensions to life without dialogue. It’s just there, palpable.
The film has no flashbacks, with one very powerful exception: the argument scene.
From the beginning, I wanted to avoid using flashbacks in the film. I find them unnecessary, and more importantly, I wanted the focus to be on the spoken word. In a trial, truth is elusive, and there is a void that needs to be filled by the spoken word. We only allowed exceptions through the use of sound. And in reality, these exceptions are not flashbacks: in the scene of the argument, it is a sound recording that suddenly materializes on screen, creating a sense of presence. It creates a void and it's almost more powerful than the image, in my opinion: it's both pure presence and ghostly.
There's also the scene where Daniel reenacts his dead father's words, but it belongs to a different category. This time we have the image, but it's an account of a memory, an invention, or at best, a testimony without proof, as pointed out by the public prosecutor.
The courtroom is essentially where our history no longer belongs to us, where it's judged by others who have to piece it together from scattered and ambiguous elements. It becomes fiction, and that's precisely what interests me.
P.I.M.P.
Words and music by Mr. Porter (as Denaun M Porter), Brandon Parrott and 50 Cent (as Curtis Jackson)
Performed by Bacao Rhythm & Steel Band
© Derty Werks / EMI April Music Inc / Hipgnosis SFH I Limited and Notting Hill Music and FBC Publishing (ASCAP)
administered by Kobalt Music Publishing Ltd
(p) 2016 Big Crown Records
By authorization of Big Crown Records, EMI Music Publishing France, Kobalt Music Publishing Ltd
Asturias (Leyenda)
Music by Isaac Albéniz
Performed by Milo Machado-Graner
(p) LFP-Les Films Pelléas - Les Films de Pierre
Asturias (Leyenda)
Music by Isaac Albéniz
Performed by Miguel Baselga
(p) 2021 Bis Records AB
By authorization of Universal Production Music France
Prélude en Mi Mineur Op. 28 No. 4
Music by Frédéric Chopin
Performed by Sandra Hüller, Milo Machado-Graner
Recorded and mixed by Bud at Studio de La Fugitive, Paris
(p) LFP-Les Films Pelléas - Les Films de Pierre
Variations sur un Prélude
Music by Benoit Daniel based upon a theme by Frédéric Chopin
Performed by Benoit Daniel
Recorded and mixed by Bud at Studio de La Fugitive, Paris
© La Fugitive
(p) LFP-Les Films Pelléas - Les Films de Pierre
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