Justine Triet unfolds her legs on the sofa in the living room. “It’s a bit psychoanalytical”she says, smiling, like an echo of some of her films haunted by psychiatric practices – Victoria (2016) and Sibyl (2019), both with Virginie Efira in the lead role. We are Wednesday, June 28, in the Parisian apartment, near the Gare de l’Est, that the director shares with her companion, the filmmaker Arthur Harari (Onoda. 10,000 nights in the jungle, 2021), and her two children, and it has been a month since she made landfall.
On Saturday May 27, Justine Triet received the Palme d’or from Jane Fonda for her fourth feature film, Anatomy of a fall – thus becoming the third woman to obtain the award, after New Zealander Jane Campion (The Piano Lesson1993) and the Frenchwoman Julia Ducournau (Titanium, 2021). eleven years later Bad girl, bad boy (2012), her award-winning short film in Berlin, the former student at the Beaux-Arts in Paris, where she discovered video editing, reaches the top step, at the age of 45 – she was born in 1978, in Fécamp (Seine-Maritime).
The director signs with Anatomy of a fall a “murderous” film about the couple, co-written with Arthur Harari. A writer, Sandra (Sandra Hüller), accused of having killed her husband, Samuel (Samuel Theis), sees her life dissected from all angles during a trial at the assizes – her sexuality, her relationship to motherhood… Gross, sophisticated and torrential like a Cassavetes, Anatomy of a fall however has the potential of a work for the general public.
Producers Marie-Ange Luciani (Les Films de Pierre) and David Thion (Les Films Pelléas) were able to measure it during the previews organized before the theatrical release, Wednesday August 23rd. “We saw a lot of young people aged 20-25, and people who weren’t necessarily moviegoers. There are Palmes d’or that are not unanimous, but this is a Palme loved. And, even if the declaration of Justine during the ceremony divided, she also gathered around her image of citizen “underlines the co-producer of 120 beats per minute (2017), by Robin Campillo.
Controversy after Cannes
Upon receiving the statuette, during the ceremony broadcast live on France 2, Justine Triet, tuxedo and t-shirt, wedged her long silhouette under the microphone. Then, after the thanks, she insisted on recalling “the historic, extremely powerful, unanimous challenge to the pension reform”which was “denied and repressed in a shocking way”. Denouncing a “diagram of dominating power more and more uninhibited »the director mentioned a “commodification of culture that the neoliberal government defends”and who is in the process of “breaking the cultural exception”without which she herself would not have been there, she said.
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