Gett: The Trial of Viviane Amsalem

Lines of influence

• The Passion of Joan of Arc (1928) — A lone woman interrogated by a male ecclesiastical tribunal is rendered through relentless facial close-ups and disorienting eyeline/POV cuts that visually isolate her from her clerical judges — the template Gett inherits for filming institutional persecution as an assault of faces.
• 12 Angry Men (1957) — Single-room, quasi-real-time procedural where drama is built entirely from argument, reaction shots and tightening lenses that shrink the space around faces as tension mounts — Gett's confined-room grammar.
• The Trial of Joan of Arc (1962) — Austere, transcript-faithful courtroom staging built on flat reverse-shot cutting between the accused and her interrogators, dialogue-driven and scoreless — the same evidentiary minimalism Gett uses for its rabbinical hearings.
• Rashomon (1950) — Testimony delivered frontally toward an unseen tribunal, with witnesses addressing the camera as if the viewer were the judge — the POV-into-the-bench framing Gett adopts to implicate the audience.
• Scenes from a Marriage (1973) — Chamber-drama anatomy of a marriage's collapse conducted in confined interiors through sustained two-shots and close-ups, treating a couple's talk as forensic combat — Gett's dramaturgical model.
• Divorce Italian Style (1961) — Tragicomic indictment of a legal-religious order that traps spouses because divorce is unavailable, weaponizing satire against marriage law — Gett's blend of institutional critique and dark comedy.
• To Take a Wife (2004) — The trilogy's first film, which establishes Viviane in the confined domestic frame and the sibling-directors' method of staging marriage as a besieged interior.
• Shiva (7 Days) (2008) — The middle film that perfects the single-location, compressed-time ensemble and confined cutting within one apartment during a mourning week — the immediate formal precursor to Gett's courtroom.
• A Separation (2011) — A Middle Eastern domestic conflict adjudicated inside religious-legal chambers, with characters delivering pleas nearly into the lens as though addressing the magistrate — the same juridical POV framing and moral proceduralism.
• Fill the Void (2012) — An Israeli religious-community drama about a woman's marital fate governed by halakha, shot in tight interiors from within the community's own gaze — a parallel study of female autonomy under Jewish law.
• Late Marriage (2001) — An Israeli ethnic-minority film built on long, confined domestic scenes where patriarchal marriage custom overrides individual will — kindred in staging autonomy against communal-legal pressure within Israeli cinema.
• Kramer vs. Kramer (1979) — Turns family life into a courtroom procedural where advocates litigate intimacy and a spouse is cross-examined about their private conduct — the de-facto-advocacy structure Gett reworks.
• The Insult (2017) — A Middle Eastern courtroom drama where a personal grievance escalates into an indictment of sectarian and institutional identity, staging the tribunal as a battleground for communal belonging as Gett does with Mizrahi identity.
• Custody (2017) — Opens on a static, near-real-time custody hearing filmed as a pressure chamber of testimony before the drama spirals outward — inheriting Gett's use of the institutional room as compressed dramatic engine.
• Saint Omer (2022) — Static, frontal courtroom framing that holds on a woman's testimony as she is judged by institutional language, letting personal truth strain against legal procedure exactly as Gett frames Viviane before the rabbis.
• Anatomy of a Fall (2023) — A marriage litigated in court, with extended courtroom argument scenes turning the trial into a forensic dissection of a relationship — the same procedural-as-marital-autopsy device Gett pioneered a decade earlier.