The director of this film is Justine Triet who won the Palme d’Or at the Cannes Film Festival with this film that later became a hit in France. She was only the third female director in the 76-year history of that festival to win that top prize.  That the movie was a hit there and not in North America tells us much about the two cultures.

The film is centred on the death of a man from a fall from a French chalet and the sole issue is whether or not he fell or was pushed by his wife. Disturbingly, the corpse was discovered by the son of the couple.

First, I was fascinated by the details of the French Inquisitorial legal system so unlike our English adversarial model of trials. It seemed like the principals at the trial, the judge, the prosecutor, the expert witnesses, and defense lawyers were engaged in a psychological inquiry that felt penetratingly real and satisfying.  In many ways better than ours.

The really haunting actor in the film is Machado Graner who plays Daniel, aged eleven, the son of the accused woman and the deceased.  He says “I want to understand.”   We all want that of course. And that seems to be enough for the French court to permit an 11-year-old child to attend in court while awkward intimate details about his parents are revealed. Yet Daniel is central to the film Even though he is legally blind, what he “sees” or hears or doesn’t see or hear,  is vital to the mystery and its unfolding. It is he who has to decide if his mother killed his father or his father committed suicide. Not a great choice for an 11-year-old kid.

This is a mystery with a deep feeling of reality, even though the lawyer for the accused novelist, Vincent Renzi (Swann Arlaud), tells his client Sandra Voyter (Sandra Hüller), speaking of her murder trial, “this is not about the truth, this is about perception.” The lawyer also counsels the wife “you have to start seeing yourself how others are going to perceive you.” She tells her lawyer “I did not kill him.” And he responds, “that’s not the point.” If that is not the point what is?

The director Justine Triet who also wrote the script with her partner, said to the New York Times this about why he liked his choice of her as leading actress:

“the absence of any kind of seduction both on and off the set… [she] says what she thinks and is very direct.”..[this honesty], is probably what gives her such power on set: She’s real.”

I agree with that completely. The fight she had with her husband felt hyper real. It was spell-binding.

The mother wakes up her son the day before her son has to testify in her trial for the murder of his father, and tells him, “I’m not a monster.”

When truth unravels the result is not necessarily a revelation. In fact, it might not even be the truth.  It can just as well be another veiling of the truth.

The family dog, Snoop, may be the only witness to the murder, if it was a murder. In a weird way the dog does bring out the truth. And I mean that literally. You’ll know what I mean when you see it.