Life

Anatomy of Death by Falling from a Building: A Gripping French Drama That Explores the Fragility of Relationships

  Ever since the depressive drama “Married Life”, I’ve become a little obsessed with movies about couples fighting. Emotional dramas are not like crime-solving dramas, which can lead to the relief of finding the criminal in the end. Household affairs are often a mess. After watching them, most of the time, the impression will be: “It’s not easy.” French movies “Anatomy of Death from a Falling Building”, because of the “death” in the translation, I regarded it as a suspense drama. And the beginning of the movie is indeed a bit suspenseful – a remote cabin surrounded by mountains, a loud music background played in the attic, and the strong contrast between blood and white snow bring a direct impact. The characters on the stage include a child with impaired vision who relies on a loyal dog to lead him around, a husband who does not show his face for a long time at the beginning, and a wife who laughs and drinks with others. In short, the overall atmosphere created in the first half hour makes people feel that it is natural for a police officer or detective to appear later. As a result, I ended up falling into a drama.
  Unlike “Married Life”, “Anatomy of Death by Falling from a Building” did not bring much emotion to me. Although its viewing experience is very smooth, its appeal is limited. I don’t want to analyze the metaphorical meanings that may be obvious, such as what it means for a child to be blind, or what it means for a dog to be poisoned – simply stripping the images from the story will easily make the movie fall apart. The film certainly describes the plight and crisis of a middle-aged woman: she is in a foreign country, her language is stumbling, her husband is dead, she is suspected of being the murderer, and her young child becomes a key witness. So her private life was put on the autopsy table in full view of the public. And the life of mortals has never been able to withstand the confrontation between swords and enemies. This scene is like a girl Pete met on a blind date in “The Hundred Years Tavern”. Faced with low self-esteem, he bluntly told some of his unbearable experiences and concluded: “No one is so glamorous now.” As a result. The evidence is brought to the forefront of those arguments between husband and wife, those selfishness, excuses, excuses and anger, all the fragility of each other’s lives that are ruined. Everyone talks about it, and the parts that can be seen in the light will be twisted into twists, let alone those shady secrets.
  At this point, the heroine’s plot is full of conflicts. However, her predicament and crisis have not developed to the point where the audience can empathize with her. Although the film deliberately abandons the husband’s perspective, it only portrays this man from the perspective of narrative and evidence retelling. From the heroine’s narration, we learn that there are accommodations, grievances, resentments, and revenge in her marriage. These big and small pains are enough to dissolve the initial sweetness and love between the two – just like under the sun Like most marriages. The film seems to mean that this small amount of erosion is enough to shock people. But as a Chinese who is accustomed to seeing realistic themes, I can’t help but want to ask: “So?”
  The only time I sympathized with the heroine was when the prosecutor produced some recordings, revealing that the husband had been silently recording their daily lives. I think this is an act that would shock modern people, but my wife accepted it tacitly. This is a bit like the “sausage tactic” mentioned by the Austrian staff in “Yes, Prime Minister”. Invasions are often not sudden, but like slicing sausages, soaked piece by piece, bit by bit. In the beginning, the recording was done with his wife’s permission, but it gradually evolved into him recording everything on his own. The details that the wife accepted silently and indifferently reflected the collapse of their lives better than the direct quarrel.
  We seem to be born sophisticated. It can also be said from a positive perspective that we love real life wholeheartedly and rarely doubt whether it is all worth it. From ancient times to the present, we have produced many realist masterpieces, in which the characters are almost always obsessed with the turmoil of interpersonal relationships, absorbed in the mess, and rarely intend to look at it from an outside perspective. After all, there is nothing more natural than life, than this piecemeal life.

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