{"id":492850,"date":"2023-11-27T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee-2\/interview-with-justine-triet-for-a-long-while-i-was-frightened-of-anatomie-dune-chute-it-gave-me-nightmares\/"},"modified":"2024-06-20T16:59:25","modified_gmt":"2024-06-20T14:59:25","slug":"interview-with-justine-triet-for-a-long-while-i-was-frightened-of-anatomie-dune-chute-it-gave-me-nightmares","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/culture-en\/interview-with-justine-triet-for-a-long-while-i-was-frightened-of-anatomie-dune-chute-it-gave-me-nightmares\/","title":{"rendered":"Interview with Justine Triet : \u201cFor a long while I was frightened of Anatomie d\u2019une chute, it gave me nightmares.\u201d"},"content":{"rendered":"<p>The director of <em>Victoria <\/em>(2016) and <em>Sybil <\/em>(2019) \u2013 films driven by powerful female protagonists \u2013 was this year honoured with French cinema\u2019s highest accolade, the Palme d\u2019or at the <a href=\"https:\/\/www.numero.com\/en\/cinema\/cannes-film-festival-madonna-angelina-jolie-bella-hadid-red-carpet\" target=\"_blank\" rel=\"noopener\"><strong>Cannes Film Festival<\/strong><\/a>. Her winning opus, <em>Anatomie d\u2019une chute <\/em>(<em>Anatomy of a Fall<\/em>), a courtroom drama about a woman accused of murdering her husband, allowed Triet to explore her favourite theme, the power balance within the couple.<\/p><p>&nbsp;<\/p><h2>Interview with director Justine Triet on the film Anatomy of a Fall, Palme d\u2019Or 2023<\/h2><p>&nbsp;<\/p><p><strong>Num\u00e9ro : How do you feel about the fuss that followed your <\/strong><a href=\"https:\/\/www.numero.com\/en\/cinema\/julia-roberts-isabelle-adjani-tarantino-scandals-cannes-film-festival\" target=\"_blank\" rel=\"noopener\"><strong>Cannes<\/strong><\/a><strong> acceptance speech, in which you criticized Emmanuel Macron and the French government?<\/strong><\/p><p><strong>Justine Triet<\/strong> : Even though I didn\u2019t think I was going to win, I started preparing my speech two days before the ceremony just in case. I couldn\u2019t get my head round the idea of not pointing the camera at what has happened this year. And my first thought was the question of pensions and retirement, because my first feature film, <em>La Bataille de Solfe\u0301rino<\/em>, took place in the street and dealt with themes that are still relevant today. I felt it was fundamental to talk about what had happened \u2013 the whole of France rising up against a reform that was pushed through by force, and the link between that and the current state of cinema. But I hadn\u2019t anticipated the uproar it would unleash, nor the way my words might be misconstrued. I wasn\u2019t talking about me but about the young; I hadn\u2019t anticipated the culture minister\u2019s communications stunt with her Tweet&#8230; It\u2019s been corrected in the press since. In any case, I have no regrets \u2013 it was the least I could do.<\/p>\n                    <figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n                    <iframe loading=\"lazy\" title=\"Anatomie d&#039;une chute | Bande-annonce\" width=\"640\" height=\"360\" data-cookieconsent=\"statistics, marketing\" data-src=\"https:\/\/www.youtube.com\/embed\/4vomBbFSs8g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><div class=\"cookieconsent-optout-statistics cookieconsent-optout-marketing\"><\/div>\n                    <\/div><\/figure>\n                    <h2 class=\"text-align-center\">&#8220;<strong>My family has a complex past that I don\u2019t talk about much.<\/strong>&#8221; &#8211; Justine Triet<\/h2><p>&nbsp;<\/p><p><a href=\"https:\/\/www.numero.com\/en\/cinema\/jean-luc-godard-death-scandals\" target=\"_blank\" rel=\"noopener\"><strong>Godard<\/strong><\/a><strong> and Truffaut before you spoke up in May 1968, saying that the <\/strong><a href=\"https:\/\/www.numero.com\/en\/cinema\/cannes-film-festival-second-world-war-september-1946-michelle-morgan-alfred-hitchcock-the-battle-of-the-rails\" target=\"_blank\" rel=\"noopener\"><strong>Cannes Film Festival<\/strong><\/a><strong> should be suspended while everyone was demonstrating in the street&#8230;<\/strong><\/p><p>They achieved so much more than me, but obviously I had them in mind. I\u2019m glad my win helped wake up people\u2019s consciences a bit. I didn\u2019t go to film school, I began by making movies that cost nothing before shooting high-production dramas, with audience figures ranging from 20,000 to over 600,000. For me, the question of pensions and what we spend tax-payers\u2019 money on is linked to that of spending in the film industry: should we continue to allow room for the production of movies that are not obviously commercial [France\u2019s Centre national de la cine\u0301matographie (CNC) provides financial help for movie-making by paying an advance on ticket sales]? The CNC\u2019s help makes a huge difference \u2013 without it I couldn\u2019t have made <em>La Bataille de Solfe\u0301rino<\/em>, my breakthrough film.<\/p><p>&nbsp;<\/p><p><strong>You didn\u2019t go to film school but instead studied fine arts.<\/strong><br>In art school I took a video class that introduced me to 1970s cine\u0301ma-ve\u0301rite\u0301 and documentaries.<\/p><p>&nbsp;<\/p><p><strong>And then you started making movies at around the age of 30.<\/strong><br>That was when I finally realized you could make a living from film-making. One thing led to another, with a prize at the Berlin Film Festival for <em>Vilaine Fille, mauvais garc\u0327on <\/em>[2012], presented to me by the German actress <strong>Sandra Hu\u0308ller<\/strong>. That was the first time we met, long before we worked together on <em>Sibyl <\/em>and <em>Anatomie d\u2019une chute<\/em>. Then I became pregnant, and during those nine months decided to write <em>La Bataille de Solfe\u0301rino<\/em>.<\/p><h2 class=\"text-align-center\">\u201c I enjoyed creating a character who\u2019s not always terribly nice. I had her say things that, in a man\u2019s mouth, would be profoundly misogynist.\u201d &#8211; Justine Triet<\/h2><p>&nbsp;<\/p><p>&nbsp;<\/p><p><strong>What was the starting point for <\/strong><em><strong>Anatomie d\u2019une chute<\/strong><\/em><strong>? The desire to work with Sandra Hu\u0308ller again?<\/strong><br>I really wanted to film a foreigner who doesn\u2019t speak French so well. Sandra came to Paris very early on in the writing, just before the COVID lock-down. I didn\u2019t think Arthur [<em>Harari, Triet\u2019s life partner, who is also a film director<\/em>] and I would spend two years writing the script \u2013 I thought it would take barely three months. And to be honest, he would never have agreed to devote so much time to one of my movies! Right at the start of the process, I remember looking at my daughter, who was nine or ten at the time, and wondering what she really knew about me. My family has a complex past that I don\u2019t talk about much. I said to myself, \u201cShe\u2019s growing up, one day I\u2019m going to have to talk to her about it.\u201d Then came the idea of a child caught up in total chaos brought on by the machinery of justice. The idea of a courtroom film was also in my mind, but the whole thing came together when I imagined the mother-child duo. The kid trusts the mother, then all of a sudden that trust cracks.<\/p><p>&nbsp;<\/p><p><strong>The film deals with a raw subject: how a woman who is professionally more successful than her husband disturbs the social order.<\/strong><\/p><p>That isn\u2019t exceptional in itself, but the fact she does it without feeling any guilt, and without asking permission, creates a profound imbalance in her marriage to another writer. I enjoyed creating a character who\u2019s not always terribly nice. I had her say things that, in a man\u2019s mouth, would be profoundly misogynist. When she snaps, \u201c<em>I don\u2019t know anyone who can\u2019t manage to write because they have to do the shopping<\/em>,\u201d I\u2019m aware that if a man said that he would be spitting in the face of the half of humanity that spends its time doing the shopping and looking after the children. There\u2019s clearly something provocative in her. She freed herself from the norm and does exactly what she wants.<\/p><h2 class=\"text-align-center\">&#8220;For a long while I was frightened of <em>Anatomie d\u2019une chute<\/em>, it gave me nightmares.&#8221; &#8211; Justine Triet<\/h2><p class=\"text-align-center\">&nbsp;<\/p><p>&nbsp;<\/p><p><strong>Your film isn\u2019t terribly optimistic about heterosexual relationships&#8230;&nbsp;<\/strong><\/p><p>Perhaps, but I think there\u2019s love between the couple in my film. They still tell each other things. At one point in my life, a man said horrible things to me. At the time, I felt I had two options: I could either think, egotistically, \u201cHe\u2019s a monster, what he said to me is horrible,\u201d or I could let his words resonate in me. And as it happened, what he said was sufficiently interesting for it to resonate in me. In the film, the heroine says to her husband, who\u2019s suffering from writer\u2019s block: \u201cYour pride explodes in your brain before you even have the kernel of an idea.\u201d It\u2019s a way of telling him he\u2019s not a victim, that he\u2019s struck down by fear. You have to love someone to throw that at them. A couple is really dead when there\u2019s no communication. But you\u2019re right, I didn\u2019t film a couple that\u2019s in a good way. I was touched by Emmanuelle Richard\u2019s book <em>Les Corps abstinents <\/em>about women who decide to stop having sex. I think this positive transformation of the old maid, the \u201csexually frustrated female\u201d as she\u2019s labelled, is fantastic. There\u2019s no sex in my film \u2013 looking at each other is perhaps the most erotic act I shot.<\/p><p>&nbsp;<\/p><p><strong>Though never \u201csociological,\u201d your films are marked by contemporary debates about the relationship between men and women.<\/strong><\/p><p>I can\u2019t imagine writing scripts that are based in theory: I think that would make for very bad movies. But my heroine is certainly a product of what\u2019s going on these days. I always feel that, to survive, the couple has to continuously reinvent itself, and that you need to think about how to do that. \u201cA room of one\u2019s own,\u201d as Virginia Woolf put it, is absolutely essential, and though it may sound banal, it really isn\u2019t: most women don\u2019t dare to claim it for themselves, and in a city like Paris it\u2019s very difficult to obtain. Still, things are slowly changing. I have a 12-year-old daughter, so a lot of young girls come to the house. They have a tenderness and a benevolence towards each other that I don\u2019t remember at all in my generation. The idea that real modernity lies in empathy is something that fascinates me.<\/p><p>&nbsp;<\/p><p><strong>Your films are both energetic and precise. How do you achieve that?<\/strong><br>I made sure the shoot for <em>Anatomie d\u2019une chute <\/em>was very lively, a sort of permanent experimentation. Since it was scripted in advance, I also tried to create feshness and movement through the camera. I was very inspired by a 1968 Richard Fleischer movie, <em>The Boston Strangler<\/em>, a masterpiece that\u2019s both spontaneous and weird and alternates between two modes of filming, one classic the other violent. The directors I admire are often those who mix two ways of shooting. I find dogmatism and total control depressing.<\/p><p><strong>Have you reached the end of a cycle with <\/strong><em><strong>Anatomie d\u2019une chute<\/strong><\/em><strong>?<\/strong><br>I\u2019ve gone pretty far. Now I\u2019d like to film a sort of daily diary with a camera in my hand. Even if <em>Anatomie d\u2019une chute <\/em>wasn\u2019t so expensive to make, I felt it was rather a heavy piece of machinery, without the \u201cfree gesture\u201d feeling I\u2019d known on previous shoots. I actually have two new projects I\u2019m ruminating on \u2013 I \u201clive\u201d in my films for a while before setting them down on paper. For a long while I was frightened of <em>Anatomie d\u2019une chute<\/em>, it gave me nightmares. I didn\u2019t want to write the script, I found it too dark.<\/p><p>&nbsp;<\/p><p><strong>You\u2019ll be \u201cliving\u201d <\/strong><em><strong>Anatomie d\u2019une chute <\/strong><\/em><strong>for a while yet as it travels round the world.<\/strong><br>Even if I\u2019m delighted by the success, promoting my movies isn\u2019t what I enjoy most. I never know how to behave. It\u2019s not a moment of pure joy.<\/p><p>&nbsp;<\/p><p><strong>What would be pure joy for you?<\/strong><\/p><p>Vincent Macaigne told me something years ago: when you\u2019re nobody, when you\u2019ve achieved nothing, every transgression is possible. Once a label has been stuck on you, it\u2019s different. But I like to throw it all away and start again, I love the idea of self-reinvention. To my eyes, film is a way of reinventing yourself all the time. That\u2019s what I feel deep inside me. And that\u2019s why my films all fight with each other and are never alike.<\/p><p>&nbsp;<\/p><p><em>Anatomie d\u2019une chute (2023) by Justine Triet.<\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>The director of Victoria (2016) and Sybil (2019) \u2013 films driven by powerful female protagonists [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/numero.com\/en\/culture-en\/interview-with-justine-triet-for-a-long-while-i-was-frightened-of-anatomie-dune-chute-it-gave-me-nightmares\/\">Read More&#8230;<span class=\"screen-reader-text\"> from Interview with Justine Triet : \u201cFor a long while I was frightened of Anatomie d\u2019une chute, it gave me nightmares.\u201d<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":492848,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[88,87],"tags":[],"class_list":["post-492850","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies","category-culture-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Interview with director Justine Triet for Anatomie d&#039;une chute<\/title>\n<meta name=\"description\" content=\"Interview with director Justine Triet on the film Anatomy of a Fall, Palme d\u2019Or 2023 at Cannes Film Festival.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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