SLAMDANCE FILM FESTIVAL 2024

January 31, 2024

Every year I find myself with more appreciation for the Slamdance Film Festival. Celebrating innovative independent filmmaking, the lineup always features creative and unconventional movie projects – often from filmmakers just beginning their journey. Below are brief reviews on some of the films I caught virtually through this year’s festival.

BRANDO WITH A GLASS EYE

This story from writer-director Antonis Tsonis is based in Greece, where we find two brothers in dire need of funds. Luca (Yiannis Niarros) is a talented actor who has just received notice that he has been accepted into a prestigious method acting program based in New York City. He needs money for the trip, the tuition, and living expenses. Alekos (Kostas Nikoulis) has a dream of starting his own business. The two come up with the not-so-brilliant idea of a heist to secure the necessary funds.

Predictably, the heist goes bad for these two (previously) non-criminals, and in the ruckus, an innocent bystander gets shot in the stomach. The brothers manage to get away without being caught or identified. Already burdened with the guilt of his mother’s passing, Luca tracks down the gunshot victim, Ilias (Alexandros Chrysanthopoulos) and visits him at the hospital. These visits are a bit funny and quite uncomfortable – making them intriguing to watch. Soon, Luca and the well-to-do Ilias have formed a strange bond of unexpected friendship.

One of the entertaining pieces here is the Luca is always playing a role. Famed method actor Dustin Hoffman is referenced a few times via MARATHON MAN and DOG DAY AFTERNOON, as is the titular Marlin Brando (thankfully no scenes with butter). Luca’s acting exercises make for good entertainment, as both Nikoulis and Chrysanthopoulos are excellent in their roles. We are told that theater is about giving everything to art, and Tsonis has done that with his first feature-length film.

DARLA IN SPACE

Original with a big “O” (wink-wink, nudge-nudge), this zany film from co-writers and co-directors Eric Laplante and Susie Moon is offbeat and humorous while making a statement about money and ethics. It also manages to make orgasms as unsexy as possible.

Darla (Alex E Harris, director Laplante’s wife) is on her 18th business. This serial entrepreneur has cut a commercial for her Kitty Kasket, an artsy, customized product for the remains of deceased pet cats. We see the commercial and it’s as cringeworthy as you would imagine. A trip to the CPA reveals Darla owes a tax lien of a staggering (and unusual) $349,002 thanks to the selfish actions of her overbearing and irresponsible mother (Constance Shulman).

In a most head-scratching turn of events, while mopping in the required figure 8 motion, Darla stumbles on a ‘sentient orgasm-granting kombucha scoby’ named Mother (voiced by JS Oliver) that’s been hidden in a warehouse container. Picture a huge flapjack or pancake and then visualize Darla covering up with it and being treated to a Timothy Leary-inspired orgasm. Darla and Mother cut a deal so that Mother will help Darla raise the money to pay off the tax lien, while Darla will assist Mother fulfill the inexplicable dream of going to space.

Of course, we recognize Mother’s speech pattern as a nod to HAL9000 of Kubrick’s classic 2001: A SPACE ODYSSEY, but that’s about all we recognize here. Another character, Dr Brittney St Clair (Jenn Lyon) seems to always be on TV and is Darla’s inspiration, along with the “Yeah, OK” book. For those of us who respect creativity and risk-taking, filmmakers Laplante and Moon deliver a whopper.

THE ACCIDENT

How do we react when it seems the world is conspiring against us? Do we seize the opportunity to cheat the system if it means gaining an advantage that has eluded us? Does it matter if we are a kind and gentle person just trying to stay afloat? Italian filmmaker Giuseppe Garau delivers a film that offers one set of answers, while asking other questions, and reminding us that there is always a price to pay when our decisions skirt the bounds of ethics.

Marcella (a wonderful Giulia Mazzarino) is a stressed-out woman. Separated from her husband, the demands on her time cause her to be late picking up her daughter and ultimately losing her job. She possesses what we used to call a doormat personality – one who just seems to get walked on and taken advantage of at every turn. In hopes of digging herself out of a hole, Marcella goes into debt to purchase a used tow truck. Unprepared for the backlash from fellow “rescuers”, things turn ugly as her truck is vandalized and she is assaulted. Her claim that Italy is a “civilized country” clearly doesn’t apply to all citizens.

Mr. Garau’s unconventional storytelling is accompanied by an even more unconventional shooting style. Much (probably three-fourths) of the movie is shot inside the truck cab with the lens aimed at Marcella’s profile. We as viewers are literally riding shotgun on her daily adventures. We have such empathy for kind Marcella … right up until the tone changes. An opportunity pops up and she can’t resist, despite knowing this crosses a line of morality that she would have never previously dreamt of crossing. Does this decision prove her mettle, or does it cast her in a true light? We want people to be inherently good, and when they prove they aren’t, we can’t help but be disappointed. However, in Marcella’s situation, we (and she) can’t help but wonder if these actions are forgivable … until the moment we (and she) know they aren’t. It’s a terrific thought-provoking film with one of the best final lines you could ever ask for. The film won the Narrative Feature Grand Prize at Slamdance 2024.

INVISIBLE NATION (documentary)

The festival’s closing night film selection was this penetrative documentary by Vanessa Hope (granddaughter of producer Walter Wanger and classic film actress Joan Bennett). Given the state of global geopolitics at the moment, this inside glimpse of Taiwan through the eyes of its first female President, Tsai Ing-wen couldn’t be more timely.

It’s tough to decide which is more heartbreaking: watching high school students proclaim their identity through a Taiwan they view as an independent nation, or China President Xi Jinping stating, “Taiwan is China”, and that reunification is inevitable. Taiwan has been a democracy for decades, but it’s also a de facto country, one that isn’t even allowed to use their own name at the Olympics (Chinese Taipei).

We immediately gain respect for President Tsai Ing-wen as an exceptionally smart and wise and tough leader. On a daily basis, she deals with suppression from China, and has to walk a fine diplomatic line between supporters and detractors. We learn a bit more about The Sunflower Movement, a student-led rebellion and what role that has played in recent history. Unfortunately, this well-made and informative documentary reinforces the dread we feel towards the future of Taiwan as an independent nation.

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Posted by David Ferguson

THE TEACHER’S LOUNGE (2023, Germany)

January 24, 2024

Greetings again from the darkness. The intensity and stress of everyday life and of everyday people are on full display in this film from writer-director Iler Catak and co-writer Johannes Duncker. They have brilliantly crafted a terrific suspense thriller from the most unexpected setting and group of characters … a junior high school and the faculty and students.

Teacher Carla Nowak (Leone Benesch, THE WHITE RIBBON, “Babylon Berlin”) is new to the school, originally hailing from Poland. She’s the type of teacher who motivates students by having them think creatively and from different perspectives. We can immediately tell she’s as idealistic as she is passionate about her profession. When one of her students is accused of stealing money, she’s at odds with school principal Dr Bohm (Anne-Kathrin Gummich) on the interrogation of students, as well as the conference with the accused student’s parents.

It turns out there is quite an epidemic of theft and dishonesty at the school, and it extends to the titular teachers’ lounge where Carla herself witnesses an occurrence. Carla decides to set a trap using her laptop’s camera and her unattended wallet. When the camera ‘catches’ the sleeve of an unusual blouse print, Carla confronts the ‘obvious’ culprit, school administrator Ms. Kuhn (Eva Lobau), who adamantly denies the accusation. Further complicating matters, Carla shows the video to Dr Bohm, who promptly suspends Ms. Kuhn, who also happens to be the mother of Carla’s favorite student, Oskar (Leonard Stettnisch).

Carla’s best intentions seem to backfire at every turn. She believes in right and wrong, and also in forgiveness and second chances (especially for kids). Her anxiety heightens at each misstep, whether by her, the administration, or students. Soon, even Oskar is lashing out and threatening her, despite Carla’s attempt to shield him. Many find Carla’s use of the laptop camera more offensive than the actual theft, and the student newspaper journalists seize on this opportunity to incite rebellion and independence.

Much of what we witness on screen is the result of actions taken out of our sightline – we are left to make assumptions right alongside Carla. Film Editor Gesa Jager deserves special recognition for keeping us just a bit off balance. Emptying the teacher’s coffee fund, cheating on a test, defying the truth … all of these (and more) actions are used by filmmaker Catak in delivering a snapshot of a society where we no longer trust one another. Morality, integrity, misplaced concern, racism, classism … these all play a role here in delivering the message. Leone Benesch is exceptional in the lead role, and Eva Lobau goes full throttle in her attempts to show she was wronged. It’s a Rubik’s Cube that serves up our final message, as well as providing some hope that good intentions do sometimes pay off. Yesterday, it was announced that the film has been Oscar nominated for Best International Feature Film. A well-deserved honor.

Opens in theaters on January 26, 2024

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Posted by David Ferguson

DRIVING MADELEINE (2024, France)

January 19, 2024

Greetings again from the darkness. This film surprised me with two clear and valuable reminders. First, with a bit of effort, we can always have a positive impact on others – sometimes to the degree that we change their life. Second, everyone has a life story, and we only learn it if we take the time to ask and listen. Writer-director Christian Carion is known for THE GIRL FROM PARIS (2001) and the superb Oscar nominated JOYEUX NOEL (2005). With co-writer Cyril Gely, Carion delivers a heartfelt story of two people with seemingly nothing in common, crossing paths and making a difference.

Charles (Dany Boon) is a Paris-based taxi driver who feels his life crumbling ever so quickly. His marriage is on the rocks. His financial woes seem insurmountable. He’s one more traffic violation from losing his driver’s license, which means no driving a taxi, and of course, more money problems. His dispatcher calls and offers him a fare that would take him cross-town. At first Charles balks, but quickly remembers he needs the cash. Extremely annoyed when he arrives, Charles repeatedly honks his horn until an elderly lady assures him that she’s ready for the ride. In fact, it’s to be Madeleine’s (Line Renaud) final ride. A trip to the nursing home to live out her final days.

Appearing years short of her 92-year age, Madeleine requests Charles to drive her through the areas that were key to her life. It’s a life that has a shocking past and one that slowly emerges as her charms and warmth thaw Charles’ previously irritated demeanor. It’s fascinating to watch a bond … even a friendship … formed from this unusual day trip around the city. These two should share little common ground, but what we find is that people tend to respond to kindness and listening and sincerity. These two help each other in ways neither could have imagined.

Comparisons to Best Picture Oscar winner DRIVING MISS DAISY (1989) are understandable, yet Madeleine and Charles carve out their own movie niche, and we find ourselves liking each of them. Dany Boone starred in director Carion’s history-based JOYEUX NOEL (2005), and although he is best known for his comedic work, that film and this one proves his dramatic chops. Line Renaud began performing in the 1940’s and is a well-known singer in France. As a ‘sometime’ actress, she lights up the screen here as our beloved and spirited Madeleine. The ending may be a bit of a stretch (even though we see it coming), but the real joy here is watching these two connect as flawed human beings.

Progressive theatrical openings on January 12, 19, 26, February 2, 2024

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Posted by David Ferguson

THE ETERNAL MEMORY (2023, doc)

January 5, 2024

Greetings again from the darkness. Augusto and Paulina are a real couple facing real challenges in the real world. Their challenges aren’t related to where to head for dinner or whether Augusto will leave the toilet seat up or down. No, their daily challenges are whether Augusto will wake up and recognize his wife, or even know his own name. Chilean Documentarian Maite Alberti climbs inside this relationship to show us the real impact of Alzheimer’s Disease, and does so expertly and intimately.

Augusto Gongora was a professional News Reporter/Journalist during the Pinochet regime, and Paulina Urrutia was a successful actor … both well known in their country. We even see clips and archival newsreels of Augusto’s work. However, filmed during COVID, almost the entirety of the film is focused on these two people taking each day as it comes … the good days and the not-so-good days. And perhaps ‘moments’ is a better measure than days, as this cruel disease can shift quickly. Paulina handled much of the camera work so the director and crew could keep safe distance during the pandemic, and the result is a few blurry shots, none of which detract from what we are meant to see.

Paulina helps Augusto with his memory of work and kids. She helps him take a shower. She reads to him when they take walks, and she cringes as he rides a bicycle. She helps him with his eye protection as they view the eclipse. They even treasure the time they can dance together. There are many times they share a laugh, and there are times Paulina cries alone or Augusto appears lost. Mostly they have their tender moments which define the relationship that they so want to hold on to … all while surrounded by Augusto’s lifelong collection of books that fill the house – most of which he can no longer read.

Theirs is a love story. And it’s real.

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Posted by David Ferguson

THE ZONE OF INTEREST (2023)

December 15, 2023

Greetings again from the darkness. I’ve always had an issue with movies that portray the human or “normal” side of Nazis. Of course, we understand these were human beings – many caught in a no-win situation of self-preservation; however, we just find it so difficult to accept that decent people could carry out these orders of atrocities. Writer-director Jonathan Glazer (UNDER THE SKIN, 2013, SEXY BEAST, 2000, and numerous music videos) has loosely adapted the screenplay from the 2014 novel by Martin Amis, who passed away the same day the movie premiered at Cannes.

Glazer opens the film with a totally black screen. It lasts 2-3 minutes, and feels longer. He purposefully sets us up to fine tune our listening skills for his film that is every bit as much about sound as it is visuals. As the picture comes into focus, we find a family enjoying a day of sun and swimming at a river. When the dad stumbles on something, he immediately gathers up the kids and everyone heads home to bathe.

The man is Rudolph Hoss (played by Christian Friedel), the commandant of Auschwitz concentration camp in Poland during WWII. He and his wife, Hedwig “Heddy” Hoss (Sandra Huller, who also stars in ANATOMY OF A FALL, another outstanding film this year) are raising their kids in a beautiful home with a backyard that borders the wall of Auschwitz. While their servants clean and cook, Hedwig tends to her lush garden while the kids play in and out of the house. Once I realized this family was living an ordinary life in this extraordinary setting, a knot formed in my stomach … a knot that took a couple of days to subside, and has returned as I write this review.

Background sounds include periodic screams of terror and pain, as well as distant gun shots blending with the sounds of kids chirping and women chatting. When cinematographer Lukasz Zal (IDA, 2014) shoots a certain angle, we see the smokestacks rising above the wall, though we don’t venture inside the camp gates, even for Rudolph’s birthday when the other Nazi soldiers pay their respects to him. Hedwig is seen picking through items seized from those slaughtered mere feet from her front door. She takes pride in her nickname, “the Queen of Auschwitz”, even as she readily nabs a luxury coat.

Plot and drama are not big players here. We briefly see Rudolph in meetings with Nazi officials as they brainstorm on methods of improving efficiencies of mass extermination. The closest thing to family drama occurs when Rudolph is promoted to Berlin, and Hedwig refuses to go, claiming “This is our home.” It’s an incredible statement highlighting the mental block (or acceptance?) she has of the proximity to horrific actions, and the fact that evil and cruelty is the family business.

The sound design from Johnnie Burn (NOPE, 2021) and score from Mica Levi (JACKIE, 2016) play vital roles in setting and maintaining the atmosphere in a movie that rarely shifts tone and is never in a rush. By offering a different perspective, director Glazer provides a haunting film that will stick with you. He ends things with a glimpse inside the Auschwitz-Birkenau Museum where we see piles of shoes, suitcases, etc. The whole film is chilling, and painfully contemporary despite its WWII setting.

Opens in theaters on December 15, 2023

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Posted by David Ferguson

THE BOY AND THE HERON (2023, Japan, animation)

December 6, 2023

Greetings again from the darkness. Fast approaching his 83rd birthday, legendary Japanese animator Hayao Miyazaki claims this is the final film of his illustrious career. In 2015, he was presented with an honorary Oscar, and he has had three films nominated for Best Animated Feature: THE WIND RISES (2013), HOWL’S MOVING CASTLE (2005), and Oscar winner SPIRITED AWAY (2002). His career in animation dates back to the early 1960’s and this latest, which took six-plus years to complete, proves he is still amongst the best.

A young boy’s mother dies in a hospital fire during WWII. Mahito arrives to witness her become part of the flames – the first example of Miyazaki’s method of creating occurrences that are outside the norm. Many of his films include childhood trauma, and a few years after the fire, Mahito and his father move to a new home where his mother’s younger sister, Nutsuko, is to become his stepmother, while expecting a new child. Dad’s factory, which produces fighter jet parts, is booming during the war, and Mahito rebels a bit due to grief and all the changes … and has no appreciation for the titular gray Heron that’s obsessed with him.

A mystical tower on the grounds leads Mahito to an alternate world delicately balanced between the living and the dead. The intrusive Heron follows him, seemingly offering bad advice at most every step. On this journey, Mahito meets Kiriko, a great adventurer who takes him under her wing as he crosses paths with large hungry parakeets who sharpen their giant knives, and the Warawara, who are funny little creatures headed to life in another dimension – at least those that escape the pelicans. We understand who Kiriko represents, but it takes Mahito a while to catch on.

Spirit animals and mysticism follow Mahito along the way, and the themes of life and death are mixed in throughout. Miyazaki offers a world teetering and with an uncertain future. The stories are inspired by his own life and the 1937 childhood book, “How Do You Live?” by Genzaburo Yoshino. Miyazaki co-founded Studio Ghibli, and he remains a true artist with his stunning and beautiful hand-drawn animation blended into a multi-faceted story. We learn Mahito means “sincere one”, and his lesson here is that life is worth living and fighting through.

Opening in theaters December 8, 2023

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Posted by David Ferguson

CONCRETE UTOPIA (2023, S Korea)

December 6, 2023

Greetings again from the darkness. Dropping ordinary people into extraordinary circumstances is sure to generate some interesting cinematic results, and that’s what writer-director Tae-Hwa Eom and co-writer Lee Shin-ji do in South Korea’s official submission to this year’s Academy Award for Best International Feature Film. The film opens with a devastatingly powerful earthquake in 2020 Seoul.

When the dust settles, the Hwang Gung Apartment building is still standing. This is in stark contrast to the surrounding rubble as far as the eye can see. The city lies in ruins, at least in this section of the heart of town. Initially things go as you’d hope with neighbors helping neighbors and families re-grouping and embracing. However, with temperatures dropping and other shelter impossible to find, the residents of the Hwang Gung Apartments become concerned about the influx of ‘outsiders’. As everyone becomes anxious about resources and supplies, the building residents begin to organize, and have soon voted to evict the outsiders, while naming one man, Yeong-tak (Lee Byung-hun) as the Delegate (leader) of their cause. This, after he is seen courageously sacrificing his own safety to put out a fire in an apartment.

The initial neighborly courtesies transition to self-preservation and protection of family. Much of the story focuses on one young couple, Min-sung (Park Seo-jun) and his wife, altruistic nurse Myung-hwa (Park Bo-young), who shows concern about human nature exposing the dark side for many of the fellow tenants. The apocalyptic or dystopian environment brings out the worst of many who seem unwilling to consider the proverbial ‘shoe on the other foot’. The residents organize into factions: anti-crime, rations, medical, maintenance, and waste management. The organization provides not just a way to occupy minds and keep residents alive, but also an ‘us against them’ mentality.

When Hye-won (Park Ji-hu), a Hwang Gung resident who was not there when the quake hit, makes her way back home, the tone shifts and the organization is exposed. She brings information about the Delegate, implying that he may not be the hero they presume him to be. This segment brings some flashbacks to just before the quake hit, allowing context that helps us understand more. Her arrival makes the third act even more emotional and frantic.

The politics of South Korea living spaces is touched upon in the opening, but director Eom is much more focused on exploring human nature … those ordinary folks in an extraordinary situation. Desperation leads to irrational thought and survival mode overrides all logic. Normal people become more militant, more unforgiving, and less charitable. What the apartment residents did not consider is that those “outsiders” (or “roaches”, as they are called) become even more desperate and their aggressiveness is certain to rise along with their will to survive.

Those living in South Korea will surely have an appreciation for the political aspects of the film, and everyone will recognize the warning signs of human nature when things go sideways – as they seem to quite frequently these days. Whether it’s political commentary or a precautionary tale, filmmaker Eom makes the points effectively.

Opening in NYC and LA on December 8, 2023 and nationwide on December 15, 2023

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Posted by David Ferguson

PAST LIVES (2023)

December 5, 2023

Greetings again from the darkness. Circumstances being what they can be, I missed a couple of chances to see this one earlier in the year and have just recently been able to catch up. And such a treat it is. The first feature film from South Korean writer-director Celine Song is certainly one of the best movies of the year … and with a budget hundreds of millions below some of this year’s blockbusters.

Korean school kids Na Young (Moon Seung-ah) and Hae Sung (Leem Seung-min) are besties whose close friendship abruptly ends when Na Young emigrates to Canada with her parents. Twelve years pass with no communication between the two. Na Young, now going by Nora, moves to New York City to pursue her lifelong dream of becoming a playwright. Hae Sung remains in Korea, takes a break from his engineering education to serve a stint in the military, before finishing up his studies. On a whim, Nora tracks down Hae Sung’s social media account, and it’s not long before the two have a Skype call and reminisce about their once strong bond, while also discussing how time has moved on.

Greta Lee (“The Morning Show”) plays adult Nora, while Teo Yoo is the grown Hae Sung. Twelve more years pass as Nora establishes herself as a NYC playwright and marries Arthur (John Magaro), while Hae Sung takes on a job in Korea. When Hae Sung decides to visit Nora in New York, he’s clearly hoping to rekindle the childhood bond. In many romantic movies, this reunion would end with the two lovers recapturing each other’s hearts, yet director Song ensures these characters stay grounded in reality, even as destiny and fate (described here as In-Yun) play a role.

The opening scene in a local bar bookends the film, and along the way, we are taught, “If you leave something behind, you gain something too.” There is a terrific pillow talk scene, and in fact, the dialogue throughout remains true to each character. This is a film about adulting, not fantasy, though the latter can have appeal at times. No matter how strong reality is, it never precludes us from wondering “what if?” … even if a sure sign of maturity is making decisions that keep us committed to our cause. This is a terrific film with characters whose story is remarkably relatable to just about any moviegoer.

Available on VOD

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Posted by David Ferguson

FALLEN LEAVES (2023, Finland)

November 30, 2023

Greetings again from the darkness. Finland is often listed as the country having the happiest people, and this latest from writer-director Aki Kaurismaki (Oscar nominated THE MAN WITHOUT A PAST, 2002) arrives to make sure we never again believe this. It’s not that the film is oppressively sad, but it does focus on loneliness … especially that of the two main characters.

These two leads are Alma Poysti as Ansa and Jussi Vatanen as Holappa. The timeline of their relationship goes something like this: They notice each other on karaoke night at the local tavern, but they don’t speak to each other. They cross paths at a bus stop, again not speaking. When they finally do meet, they go for coffee and a movie (Jim Jarmusch’s zombie flick, THE DEAD DON’T DIE). He then loses her phone number. They almost meet a couple of times outside the cinema (where a Bardot poster is displayed), but just miss each other. When they do meet again, they part ways over a ‘deal-breaker’. She adopts a stray dog she initially names “dog”. When they meet again, they don’t speak.

Some may call this progression dry, but with filmmaker Kaurismaki at the helm, a better description is wry. Ansa expertly sports a forlorn look most of the time. The only exception is when she flashes subtle signs of hopefulness when she looks at Holappa. On the other hand, he spends most every day and evening guzzling from a glass, a bottle, or a flask … a habit that costs him various jobs. His circular reasoning is explained as: “I’m depressed because I drink and I drink because I’m depressed.”  Adding to the tone are reports of Russia’s invasion of Ukraine every time Ansa clicks on her kitchen radio.

Ansa has a friend named Tanya (Alina Tomnikov) and Holappa has a buddy named Huotari (Janne Hyytiainen). He is attracted to her and she admires his singing voice, yet deems him too old to date. These two characters could have been expanded, but Kaurismaki is so efficient at storytelling that the film barely lasts 80 minutes. Static shots and wordless exchanges fill much of the time, each scene with a definitive purpose that we fully understand. Personally, I’ve rarely been so filled with hope as watching Ansa purchase a single plate and corresponding utensils.

The film is spartan and quiet, yet the deadpan characters feel real and fully developed despite minimal dialogue. There is certainly a message about alcoholism and how outside forces can have such an impact, and yet the film seizes on Ansa’s hope for a better day. Kaurismaki’s film won a Jury Prize at Cannes, and is Finland’s submission for Best International Feature Film. For those who thrive on intimate cinema, it’s a gem … and for those who doubt that “happiest country” label for Finland, you now have your supporting documentation.

Opened in NYC and Los Angeles on November 22, 2023, other cities to follow

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Posted by David Ferguson

ANATOMY OF A FALL (2023, France)

October 27, 2023

Greetings again from the darkness. It’s not really possible to combine a murder trial with divorce proceedings, but this year’s Palme d’Or winner at Cannes comes about as close as we can imagine. Writer-director Justine Triet and co-writer (and husband) Arthur Harari wrap a ‘did she or didn’t she’ murder mystery in a relationship drama that plays out in a gripping courtroom drama. As for the title, there is an actual fall which leads to the dissecting of the slow fall of the marriage, as well as the emotional fall of having one’s entire life laid bare in a public setting.

Sandra Huller was brilliant in TONI ERDMANN (2016), a film that you should see if you haven’t already. She also starred in director Triet’s film SIBYL (2019), which led her to be cast here as Sandra Voyter, a German writer, wife, and mother. If Huller’s performance isn’t the best of the year, it certainly is in the top three or four. She is stunning as a complex character grappling to hold on to the life she wants despite the obstacles beyond her control … including an indictment and trial for murdering her husband.

There are so many pieces to this storytelling puzzle that it’s quite challenging to paint a proper picture without giving away any of the minutiae surrounding what is the film’s core: we never really know another person, and even knowing ourselves requires an honesty and perception most lack. Some of these pieces include jealousy, the motivation of a writer, guilt, blame, a child’s view of his parents, the French courtroom process, and the need for understanding and closure. These aspects (and more) weave a tangled web over an extended runtime of 152 minutes that not only keep us focused on the trial, but also on the behavior of Sandra, and the excruciating thought process of her 11-year-old son Daniel (a remarkable Milo Machado Graner).

A wonderfully awkward opening scene sets the stage for us to recognize Sandra’s annoyance and her (unseen) French husband Samuel’s purposeful intrusion. This leads to their partially-sighted son Daniel taking the dog for a walk, and his subsequent stumble upon his father’s dead body in the snow. The police investigation is inconclusive, with an explanation available for three possible causes: an accidental fall from the attic window, a suicidal dive from the window, or a deliberate push from that window. With conflicting evidence, and only theories at hand, Sandra is indicted and faces a trial focused less on her husband’s death, and more on the secrets and arguments – the ups and downs – of their relationship.

It seems the prosecution case boils down to … she must have done it because they had arguments and she wrote about it. The prosecutor is played by a fiery Antoine Reinartz, while Sandra’s defense attorney (and long-ago lover) Renzi is played by a calm Swann Arlaud. It’s only in a crucial flashback that we witness husband Samuel (Samuel Theis) and wife Sandra in the midst of an argument that seems to hold the clues needed to assist viewers in a final decision. However, even that isn’t simple due to the approach taken by son Daniel with his dog Snoop (also remarkable!).

The chalet in the French Alps plays a role in the fall as well as the relationship. Verbal sparring is not limited to the above-mentioned flashback, but also in the courtroom where the lines between solicitors crackle with preciseness as Sandra controls her emotions. Even the language differences between French husband and German wife are part of this, but the odd French courtroom process will likely catch outsiders off guard. This is a gem where we as viewers are chugging right along with Daniel and the judges as words and emotions take the place of physical evidence. Camera work from Simon Beaufils is unconventional yet succeeds in putting us in the chalet as well as the courtroom. Some may see the ending as ambiguous, but listening to the big argument and following the dog and Daniel should provide the clarity viewers seek.

Opens in theaters on October 27, 2023

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4 Comments | Drama, World Cinema/Foreign | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

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