For five minutes before the start of Live at the Apollo, the channel screened a new short film in which a masked mob hang a man in a forest. He plunges for what feels an eternity (actually 86 seconds) down a well from the wooden gibbet, before the rope stops spooling and the man – miraculously alive – slowly starts to haul his way towards the light. It was broadcast without introduction or credits. There was no clue as to who was responsible.

In fact, The Fall is the latest film by Jonathan Glazer, the British director behind gangster comedy Sexy Beast, chilly Nicole Kidman reincarnation drama Birth and Under the Skin, in which Scarlett Johansson’s erotic alien feeds on Glaswegians. All three are brilliant; Under the Skin is a masterpiece, last month named by this paper as the fourth best film of the century so far.
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The Fall may be brief, but it turns out to have at least five heavyweight inspirations – the most flippant of which is a snap of Eric and Donald Trump Jr on a big-game hunting jaunt. “The day I saw a picture of the Trump sons grinning with a dead leopard,” he says, was the day he came up with a shot of the mob posing for a selfie with their prey.

It’s a moment that hauls a story, whose bare bones recall Reconstruction-era America and even stone-age justice, firmly into the present. The masks mix early man and modern social protest – half Neanderthal, half Vendetta.

https://www.theguardian.com/film/2019/oct/27/jonathan-glazer-the-fall-nazism