On France.tv, (re) see Justine Triet’s films before her Palme d’or


You have to wait until August 23 to discover the Palme d’Or. Waiting for the theatrical releaseAnatomy of a fall, we can devote two or three spring evenings to (re)discovering the feature films that preceded her on the career of Justine Triet. They are available until 1er July on the free platform of France Télévisions, and the juxtaposition of these three films released over a period of six years gives an idea of ​​the extent of the palette of the filmmaker. From the most primal anguish to the most insane burlesque, from existential vertigo to the enjoyment of the moment, there is no register in which the director does not dare to venture to bring out the passions and impulses. who decide war and peace between men and women.

Better to stick to the timeline, starting with a dated movie, in the best sense of the word. Shot in part on May 6, 2012, the day of François Hollande’s election, presented at Cannes in the most parallel of sections, ACID, the following year, The Battle of Solferino throws a disunited couple into the deep end of politics. Lætitia (Dosch) covers the election day and evening for i-Télé, leaving her two daughters to a babysitter who is forbidden to let Vincent (Macaigne), the children’s father, enter the apartment. Apart from the proclamation of the result, nothing will be respected in this agenda. The sparks of marital conflict mingle with those of partisan passions.

common thread

Regarding the latter, it is striking to note how much they have changed in six years. The alchemy by which love turns into complicit hatred has remained constant. The common thread that Justine Triet draws between crowd scenes and intimate disputes is due to the feeling of claustrophobia they both arouse, making The Battle of Solferino a film as exhausting as it is cathartic.

Three years later, the director returns to Cannes, this time at the opening of Critics’ Week, with Victoria (Virginie Efira), a lawyer who, in an hour and a half, turns defender, plaintiff and accused, caught between an attractive client (Melvil Poupaud) accused of having committed a crime of passion with a dessert knife and a young lover who has the features of Vincent Lacoste. We also come across a chimpanzee, perhaps in homage to the Honey, I feel rejuvenated (1952), by Howard Hawks, also a filmmaker of improper impulses.

You have 30.8% of this article left to read. The following is for subscribers only.

source site-19