2023 Telluride Film Festival – Day 4 – ‘El Conde’ and ‘Anatomy of a Fall’ and a Bit More

It would not be a stretch for many to consider Chilean dictator Augusto Pinochet as a monster. Larraín takes that one step further in depicting him as a 250-year-old vampire. With historic figures, absurd concepts, and twisted humor blended through gorgeous black-and-white cinematography from the impeccable Ed Lachman, Pablo Larraín is able to create a fairy tale of vampiric proportions. It ends up looking like if Edward Gorey attempted to make a political vampire movie.

Thematically, the film explores real-life concerns of power, exasperation, greed, and yearning for something just out of reach. At times poignant, at times absurdist (OK, quite often absurdist,) the film matter-of-factly rolls from one extreme story point to another as casually as everyday occurrences. No reach is too far with regard to gore, violence, silliness, and surprise.

The question at the end could be, “Does it hold together?” I’m not sure it truly does, but, I also think it doesn’t matter. The background of attention to the real horrors of politics in the world is felt. Does it matter if it is wrapped in an absurdist vampire fantasy? The audience is the only one that can judge.

This Palme d’Or winner from Cannes is a must see, which seems odd given that it is essentially a courtroom drama done well. Done extremely well. Writer/director Justine Triet is able to keep suspense and intrigue alive, leaving all possibilities as palpable ‘could-bes’ and the uncertainty of what actually happened ramps up the tension toward its resolutions.

The choice of Sandra Hüller as the mother character is key because her stellar performance is a tour de force of emotional turmoil, uncertainty, and motherly affection. As well as frustration and potential rage at the complications of her marriage. Supported well by a good cast, it is Hüller who really shines and carries the entire weight of the drama all the way through. I predict big awards are in her future (which isn’t a very risky prediction, if you know her film resumé.)

Triet is wonderful at building a lived-in cinematic vista, even setting the house in a remote, mountainous region feels close and approachable with her eye for detail and attention to pacing and mood. The audience rides the tensions right along as the story unfolds and each character and reveal plays its part in keeping the viewer anticipating who knows what comes next. Rapt attention to a courtroom drama, who knew it could be done? Triet did and did it well.

In the spirit of keeping you along the journey of my trip through the fest, but, without spoiling what’s to come, I’ll just mention here that in between seeing these two films I had the pleasure of sitting down with the filmmakers behind the film Reality for an interview. What we discussed and my review of the film are coming soon. (I’m still trying to catch up to my schedule. Wish me luck.)

Until the next report...