As I noted a month ago, Justine Triet’s Anatomy of a Fall is a did-she-do-it? film — a smartly written marital mystery-slash-courtroom procedural. It’s about about whether or not a German writer named Sandra (likely Oscar nominee Sandra Huller) may be guilty of murdering her husband Vincent (Swann Arlaud) by pushing him out of a third-floor window in their Grenoble A-frame.
This is the source of the film’s tension, and what makes Anatomy a fascinating bad-marriage film.
In a 10.12 piece called “Anatomy of a Fall Is Prestige Cinema as Airport Novel,” The New Yorker‘s Richard Brody has hit upon something that I completely missed when I was writing my review. And I should have because it’s a total HE thang.
Brody observes that once the film has revealed that Huller’s character is bisexual, it is all but guaranteed that she’s innocent. Because in today’s woke-subservient climate no progressive-minded filmmaker is allowed to make a bisexual woman into a villain of any kind. It’s simply not done.
In Brody’s words: “There’s the revelation that Sandra is bisexual, which, as I watched the movie, struck me as an instant exoneration, for the simple reason that a film governed by high-minded consensus would no longer dare to posit a bisexual woman as a wanton killer.”