‘Anatomy of a Fall’ Review: Justine Triet Puts a Marriage on Trial in Thought-Provoking Courtroom Drama

Ewan McVicar's Pavilion Festival is set to return to Ayr next year.

Eminem’s oldest daughter Alaina Scott is officially in her “wife era.” The 30-year-old said “I do” to Matt Moeller on June 9th in a “Great Gatsby glam” themed ceremony. Alaina shared details of the wedding with People, revealing that her famous father walked her down the aisle.A post shared by Alaina Marie (@alainamariescott)Alaina and Matt tied the knot at the Packard Proving Ground Historic Museum in Shelby Township, Michigan.

David Beckham scored major dad points on Wednesday night.

This Morning star Dr Ranj has hit out at ITV daytime show once again and has hinted that his claims of it being a ‘toxic’ work environment didn’t relate to Phillip Schofield.The ITV presenter, 43, recently hit out against the culture of “bullying” on the hit morning show. Dr Ranj worked on This Morning as the resident medical expert alongside Phillip, 61, and Holly Willoughby for six years, before he chose to step down in 2022. In May, the presenter took to Instagram to explain to fans that he had thought “long and hard” about whether he should open up about the experiences he had while working on This Morning but wanted to desperately “clarify” what had actually happened during his time on the show.The medical specialist shared his thoughts prior to Phillip coming clean about his affair with a much younger ITV staff member.

Love Island's Ruchee Gurung has spoken out after becoming the second person to be dumped from the villa. Ruchee left the show after finding herself in the bottom two will Ella, following a tense recoupling show. Following her exit, Ruchee has revealed her favourites of the couples that are currently in the villa.

Welcome to Global Breakouts, Deadline’s fortnightly strand in which we shine a spotlight on the TV shows and films killing it in their local territories. The industry is as globalized as it’s ever been, but breakout hits are appearing in pockets of the world all the time and it can be hard to keep track… So, we’re going to do the hard work for you.

ITV boss Dame Carolyn McCall has shared that she is "deeply concerned" about former This Morning presenter Phillip Schofield. Dame Carolyn has appeared before the Culture, Media and Sport Committee to answer questions about the broadcaster’s approach to safeguarding and complaint handling. It comes after Phillip, 61, admitted to having an affair with a much younger male colleague while working at ITV.

asked the thespian if she ever missed acting during her stint in politics.Jackson replied, “Acting only exists when you’re doing it. If you’re not doing it, there’s nothing to miss.”Her agent Lionel Larner confirmed the actress’s passing in a statement.

Jane Seymour is taking the plunge. The former Bond girl took to Instagram on Sunday and shared a photo of herself soaking up the sun while on vacation in Costa Rica.The British actress posed in a pastel brown plunging one-piece swimsuit featuring a crisscross pattern that went down her chest. The former "Dr.

Anna Tingley If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission. Cormac McCarthy, who died on Tuesday at the age of 89, is known for the dark and often merciless stories depicted in any of the dozen novels he wrote throughout his life.

Grab your magnifying glass! We’ve got some detective work to do.

Scottish Government has repeated warnings on a deadly, super-strength drug that they believe could cause havoc among vulnerable communities.

Tom Sandoval is responding to backlash and clarifying a comment he made about his ex-girlfriend, Ariana Madix, during the season 10  reunion. During part three of the explosive reunion, host Andy Cohen asked if Sandoval had slept with any other women since sparking his months-long affair with Raquel Leviss, to which Sandoval said he had not. Madix responded, saying, «Well, you know who he did sleep with after he and Raquel started sleeping together? Me.»Sandoval shot back sarcastically, «She kept her T-shirt on, it was really hot.»The T-shirt comment brought Sandoval immediate backlash from his  castmates and online commentators alike. «You're such a f**king d**k,» Lala Kent declared, as James Kennedy asked simply, «What the f**k, dude? You're f**king disgusting.»Even Sandoval's longtime best friend, Tom Schwartz, was left with nothing to do but hang his head and quietly mutter, «Don't say that, dude. Don't say .»Fast-forward to Wednesday, Sandoval was approached by paparazzi who asked the embattled reality TV star how he is doing amid the affair fallout.

Joe Otterson TV Reporter Peacock and AEG have entered into a mutliyear agreement that will see major parts of LA Live in downtown Los Angeles renamed after the NBCUniversal streaming service. Starting July 11, the Microsoft Theater will be known as the Peacock Theater, while the Xbox Plaza outside will be renamed Peacock Place. The deal, which was brokered by AEG Global Partnerships, also makes Peacock the exclusive streaming partner of LA Live. “Like Peacock, L.A. Live is at the epicenter of premium original entertainment, exhilarating sports, one-of-a-kind experiences and extreme fandom,” said Kelly Campbell, president of Peacock and direct-to-consumer for NBCUniversal. “Through Peacock Theater and Peacock Place, we’ll have the opportunity to bring all the elements of our brand to life with the millions of fans who visit L.A. Live each year, while partnering with the incredible team at AEG to further cement Peacock as the ultimate destination for audiences.”

Monet painting in Sweden this week, claiming they are ruining everyone’s days with the actions, even those who agree with them on the issue.Co-host Joy Behar ripped the recent climate stunt as “annoying,” while co-host Alyssa Farah Griffin agreed, calling it “counterproductive” for climate activists.Whoopi Goldberg rebuked the protestors, declaring that vandalizing art is “not your job,” even if the earth is suffering. The points came up while the co-hosts were discussing “Eat, Pray, Love” author Elizabeth Gilbert postponing the publishing of her new book, “The Snow Forest,” due to Ukrainian critics slamming it for being set in Russia.Though the book has nothing to do with Ukraine’s current ordeal at the hands of its invaders and merely provided Russia as a setting for the work, Gilbert delayed the release indefinitely, citing the pain of the oppressed Ukrainian people.The ladies disagreed with Gilbert caving to critics and mounted a defense of not stifling art simply based on the politics of the day.They then applied that point to the recent string of climate activists attempting to vandalize great western art in galleries across Europe.Most recently, two female climate activists were arrested in Stockholm, Sweden for throwing a paint-like substance on the classic Claude Monet painting, “The Artist’s Garden At Giverny” at Sweden’s National Museum this week.The painting was covered with glass, but museum staff have reportedly been analyzing the piece to see if any damage occurred.The attempted act of vandalism is one of many similar climate change protests, aimed to shock bystanders into taking the threat of climate change more seriously.Though even the liberal ladies of “The View” insisted that these protests miss the

Alison Herman TV Critic The hit British film “The Full Monty” — for a brief period in 1997, the most lucrative release in U.K. history — was, in some ways, the original “Magic Mike.” The comedy chronicled six unemployed ex-steelworkers in post-Thatcher North England as they formed a stripping troupe. (The name referred to the strippers’ willingness to bare all, genitalia included.) By treating sex work as a symbol of larger economic malaise, “The Full Monty” anticipated the approach Steven Soderbergh would take stateside over two decades later.  “Magic Mike” has since ballooned into a full-blown phenomenon spanning a trilogy of films, a reality show and a globally successful stage revue. “The Full Monty” has, until now, resisted such expansion. (There have been a handful of stage adaptations, though nothing on the scale of “Magic Mike Live.”) But on June 14, FX will stream all eight episodes of a TV sequel, also called “The Full Monty,” on Hulu. The show carries the same set of core characters a quarter century into the future — minus the nudity, but retaining the same bittersweet mix of working class social realism and irreverent humor to take the edge off. Even affable British indies, it would seem, are not immune from the modern IP boom.

Garcelle Beauvais is spilling the tea!

In her corner? Tom Sandoval and Ariana Madix appeared to be on the same page when it came to their friendship with Raquel Leviss before Scandoval made headlines.

The Co-op's landmark headquarters in Manchester city centre has been put up for sale again with a lower asking price.

French director Justine Triet’s Anatomy Of A Fall premiered in Competition at Cannes over the weekend to a buzzy reception with its star Sandra Hüller being tipped as a front-runner for the festival’s coveted best actress prize.

Neon has acquired North American rights to Justine Triet’s Cannes Competition feature Anatomy of a Fall.

Manori Ravindran Executive Editor of International Neon has acquired Justine Triet’s Hitchcockian courtroom drama “Anatomy of a Fall.” The U.S. distributor has been “aggressively pursuing” the competition title, which premiered in Cannes on Sunday to rapturous reviews, and has beat out competition. In the 150-minute film, a frustrated writer dies of suspicious causes, leaving behind clues that implicate his wife (Sandra Hüller) of his murder. Much of the film is focused on the ensuing trial, and features German star Hüller, known to international audiences for “Toni Erdmann,” delivering a powerhouse performance as a woman fighting to clear her name while protecting the couple’s young son. (Hüller previously teamed with Triet for psychological drama “Sibyl,” which also competed for the Palme d’Or at Cannes in 2019.)

Peter Debruge Chief Film Critic What The Weeknd wants, The Weeknd gets in “The Idol,” a skintastic, dark-side-of-showbiz fable that perpetuates the myth that pop stars are corporate puppets with no say in their own image-making, even as it allows hit-maker The Weeknd to call the shots (and reshoots, apparently, since the five-part HBO series was overhauled late in production to suit him). Picture “Blonde” as Joe Eszterhas might have written it, but with better music. After making a toe-dip cameo as himself in A24’s “Uncut Gems,” the R&B phenom-turned-TV producer plunges head-first into acting here, teaming with “Euphoria” creator Sam Levinson to imagine a shady super-predator just looking to corrupt an unsuspecting young pop singer. The edgy, high-gloss HBO series, which premiered the first two of its five episodes at the Cannes Film Festival, demands a lot of star Lily-Rose Depp. She plays “rags-to-riches, trailers-to-mansions” Jocelyn, a mono-monikered Britney or Miley type who seems empowered one moment, impressionable the next.

Hüller, who was shortchanged back in 2016 when George Miller’s jury was inexplicably resistant to “Toni Erdmann,” ought to be in line for some serious attention from jury president Ruben Östlund’s panel this year for her richly textured performance, even without factoring in her disturbing work in “The Zone of Interest.”Check out TheWrap’s Cannes magazine here and all of our Cannes 2023 coverage here.

Jennifer Lawrence is turning heads with her stunning look at the 2023 Cannes Film Festival.

Peter Debruge Chief Film Critic Tudor, or not Tudor. That is the question in “Firebrand,” a revisionist royal portrait of Henry VIII’s last wife, Katherine Parr (played here by Alicia Vikander), that features all the pageantry you’d expect from a lavish costume drama, while showing the ahistorical audacity to call “Time’s Up” on the gluttonous king (Jude Law). Never mind that Henry VIII died — of very different causes than the movie depicts — all of 476 years ago. When it comes to art, there’s no statute of limitations on taking toxic masculinity to task, which can be both encouraging (since history has excused no shortage of monsters) and frustrating. There’s a big difference between exposing the truth and rewriting what came before to suit a contemporary political agenda, the way this movie does. Liberally adapted from Elizabeth Fremantle’s fast-and-loose historical fiction “The Queen’s Gambit,” director Karim Aïnouz’s tony British production needn’t try hard to demonstrate that Henry was a notoriously bad husband.

French director Justine Triet returns to Competition with a cerebral smash that might finally bring the Best Actress award that its star, Sandra Hüller, was cruelly denied in 2016 when Maren Ade’s festival hit Toni Erdmann lost out in every category. That film wasn’t everyone’s cup of tea, and the formidably forensic Anatomy of a Fall might not be either, but Hüller’s screen magnetism cannot be denied. Between this and her role as “Queen of Auschwitz” in Jonathan Glazer’s equally brilliant Zone of Interest, Hüller has Cannes in the palm of her hand. Whether she will also get a Palme in her hand is up to the jury.

Justine Triet’s “Anatomy of a Fall,” playing in Competition at this year’s Cannes Film Festival, begins with an interview between a writer and a student interested in her work. It’s a lighthearted, almost flirty discussion where double entendres are part of a seemingly harmless game.

Peter Debruge Chief Film Critic In the experimental montage that opens “Persona,” a bare-chested teenage boy caresses a screen upon which the faces of two women slowly morph back and forth. It’s easy to imagine Todd Haynes being tempted to start his deep-as-you-want-to-go rabbit-hole drama “May December” the same way, seeing as how this endlessly fascinating movie focuses on the blurring of the lines between a Hollywood star (Natalie Portman) and her Heartland subject (Julianne Moore), who was caught in a sexual relationship with a 7th grader at the age of 36. The movie wants to know: Can playing this Mary Kay Letourneau-like tabloid sensation really answer what makes such a woman tick? A heady director whose entire oeuvre feels ripe for film-studies dissertations, Haynes makes movies not merely to be watched, but to be analyzed and deconstructed after the fact. From the rich Douglas Sirkian pastiche of “Far From Heaven” to the queer twist on classical “woman’s pictures” provided by “Carol,” his style can be chilly and distancing. Not so “May December.” As layered and infinitely open-to-interpretation as any of his films, it’s also the most generous and direct, beginning not with Ingmar Bergman references (those come later), but with footage of monarch butterflies. They’re symbols of transformation, too, but also something nice to look at (and listen to, underscored by a lush reworking of the piano theme from “The Go-Between”) before these two women meet.

Peter Debruge Chief Film Critic Taking a cue from the movie’s soon-to-be-infamous spanking scene between Robert De Niro and Leonardo DiCaprio, someone ought to paddle whoever let Martin Scorsese take three and a half hours to retell “Killers of the Flower Moon.” You could read David Grann’s page-turner — about an audacious 1920s conspiracy to steal resources from the Osage people by marriage and murder — in less time, and you’d learn a whole lot more about how J. Edgar Hoover and the newly formed FBI used this case to establish their place in American law enforcement. Granted, this is cinema legend Martin Scorsese we’re talking about. For years, he fought studio execs telling him what to cut, going head-to-head with Harvey Weinstein on “Gangs of New York” (a movie that probably would’ve been better longer). Now he’s earned the right to tell stories as he sees fit. Trouble is, at 206 minutes (still four shorter than “The Irishman”), “Killers of the Flower Moon” isn’t an epic motion picture so much as a miniseries. Nothing wrong with that, except it’s intended for the big screen — where Apple has committed to release it this fall. Closer to two hours, “Killers” would make a killing, whereas longer than “The Longest Day,” most folks will wait to watch at home.

Peter Debruge Chief Film Critic In film after film, from “Nobody Knows” to “Shoplifters,” Japanese master Kore-eda Hirokazu has proven himself to be among the medium’s most humanistic directors, inclined to see the best in people, especially children. So how to reconcile the way “Monster” makes us feel? Returning to his native Japan after helming two relatively disappointing features abroad (“Broker” and “The Truth”), the 2018 Palme d’Or winner opens his latest Cannes competition entry with a building on fire — a “hostess bar” where lonely men seek female company — and fifth-grade Minato (Kurokawa Soya) watching the inferno from a nearby balcony. Kore-eda will return to this scene three times over the course of the film, folding the narrative back upon itself from a different angle each time, before finally revealing who set the blaze.

Peter Debruge Chief Film Critic While the world was grappling with the COVID-19 pandemic, French director Thomas Cailley was imagining another kind of coronavirus, one he’d cooked up before the crisis, but which suddenly took on new real-world relevance. In “The Animal Kingdom,” a mysterious malady is sweeping France, unlocking something at a genetic level that causes people to transform into hybrid creatures. The mutations are slow and somewhat unpredictable: One person might sprout feathers, observing over weeks as their arms develop into wings, while another grows scales and winds up slithering like a snake. Through it all, 16-year-old Émile (Paul Kircher) and his father, François (Romain Duris), are just trying to stay calm, which isn’t easy when something akin to a zombie apocalypse has left the entire country jittery and suspicious. What’s causing the mutations? Is it contagious? Can the creatures be trusted, or are they a threat to others? A scar on Émile’s cheek, acquired during the early days of his mother’s infection, offers a hint of the risk. People are understandably frightened of the unknown, but scarier still is the possibility that the same could happen to them.

Peter Debruge Chief Film Critic Every time two cowboys point their guns at one another on screen, there’s something homoerotic at play. Hollywood Westerns may be loath to admit as much, but not so Pedro Almodóvar, who casts Ethan Hawke and Pedro Pascal as lonesome cowboys reunited after 25 years in “Strange Way of Life.” Commissioned by Saint Laurent Productions (which is also premiering a Jean-Luc Godard short at Cannes), this half-baked half-hour serves as a sexy showcase for creative director Anthony Vaccarello’s latest designs, while barely delivering on the promise that an Almodóvar-made “gay cowboy” movie conjures in the imagination. At the Cannes premiere, the Spanish director described “Strange” as his response to a question posed by “Brokeback Mountain”: What can two men do on a ranch? Silva (Pascal) gives Jake (Hawke) his answer in the final seconds of the short, and it’s sweet, though it turns out Almodóvar is misremembering Ang Lee’s 2005 Western. The scene he’s thinking of is probably the one where Heath Ledger’s character tells Jake Gyllenhaal how his father made a point of showing him an old rancher’s corpse, gay-bashed with a tire iron and then “drug … around by his dick.” With an image like that in their minds, no wonder the couple decide to keep their forbidden love on the down low.

Peter Debruge Chief Film Critic Every race needs a finish line. For the “Fast & Furious” franchise, the studio keeps shoving it farther down the road, at least according to Vin Diesel, who suggested at the world premiere of the 10th installment — a brainless but action-packed thrill ride billed as “Fast X” — that Universal might split the “finale” over three movies. Why not seven? Or 20 more, for that matter? That might allow Diesel to merge these increasingly desperate sequels with his other running-on-fumes franchise, “XXX.” The producer-star has a way of mouthing off around the release of each new “Fast” movie (remember hints that an all-female spinoff might be coming?), which feels counterproductive, considering that a key part of Diesel’s appeal comes from the rumbling-Harley-voiced actor’s capacity to reduce complex thoughts to terse catchphrases. He’ll squint his eyes, crack that sideways smile and spout something inane (“I don’t have friends, I got family”), and it will sound profound. Gearhead philosophy, or “Zen and the Art of Motorcycle Maintenance,” served up with popcorn.

Guy Lodge Film Critic Appealing a conviction for two murders he insists he didn’t commit — while candidly, even proudly, admitting to multiple armed robbery charges — French activist turned criminal Pierre Goldman refuses to call any witnesses in his defense. “I’m innocent because I’m innocent,” he says flatly, rejecting the idea that testaments to his character and conduct have anything to do with it, and professing himself “disgusted” by courtroom pomp and theatricality. Except Goldman knows the power of fiery rhetorical speechifying when it suits him: In “The Goldman Case,” Cédric Kahn’s formally restrained but ultimately electrifying dramatization of a trial that gripped and divided France in 1976, that canny inconsistency is but one unexpected fold in a courtroom drama that finds equal intrigue in legal order and human chaos.

Peter Debruge Chief Film Critic They instructed her no one must turn their back to the king, but she did so anyway. They warned that she was not to look Louis XV directly in the eyes, lest others take it as “an invitation,” but she ignored Versailles’ advisers on this point as well, defiantly meeting the king’s gaze. Jeanne Bécu was not the type of woman to do as she was told. In this respect, divisive French actor-director Maïwenn can relate, casting herself as the courtesan-turned-comtess in “Jeanne du Barry,” a sensitive and surprisingly low-key portrait of the French monarch’s last mistress. That Maïwenn saw fit to engage tabloid-embattled Johnny Depp as “her king” is just one of the many hurdles she set for herself — but then, no one embarks on such a project with the intention of pleasing her critics.