“I rarely cry, but it upset me,” reacts French director Justine Triet on franceinfo

The film “Anatomy of a Fall”, Palme d’Or at Cannes, and directed by Frenchwoman Justine Triet, is nominated in five categories for the Oscars, including best film.

“I’m very moved, I hadn’t really imagined that”reacted Tuesday January 23 to franceinfo the French director Justine Triet, after the five nominations of her film Anatomy of a fall at the Oscars, including “best film”.

A “great joy” and a big surprise: Anatomy of a fall by Justine Triet is nominated in the “best film” and “best director” categories, actress Sandra Hüller is nominated in the “best actress” category. The film is also nominated for Best Editing and Best Original Screenplay. “It’s very touching to share this and to be all together in this nomination,” confides Justine Triet. I rarely cry, but it upset me.“

franceinfo: Your film “Anatomy of a Fall” therefore received five nominations for the Oscars… What state of emotion are you in?

Sandrine Triet: I am very moved. I thought we would only be nominated for the screenplay, surely, but I hadn’t really imagined that. I am very touched, it is a great joy.

With you, a whole team has been named. Not yet rewarded, but already distinguished.

It touches me deeply. I admit to you that I rarely cry, but when I saw the name of Laurent Sénéchal [nommé pour le “meilleur montage”], when they said his name, it shocked me. We spent eight months locked in a small room asking ourselves lots of questions, with lots of doubts… And to see that he is nominated, it touches me enormously. These are people who give themselves super intensely to their work. And then Sandra [Hüller, nommée pour la meilleure actrice], let’s not talk about it ! Arthur [Harari, son compagnon, coscénariste du film]too… It’s very touching to share this and to be all together in these nominations.

In May, you received the Palme d’Or, and you have a string of good news: seven nominations for the British Bafta, two Golden Globes (best screenplay and best foreign language film). It’s a bit dizzying. Is this only positive or are you exhausted by it all?

No, frankly! Overall, we’re not going to complain! Besides, I’m not 20 years old. I think when you have such success when you’re very young, it’s not really savored in the same way. There, the fact of having already had other films before which more or less worked, obviously, is very, very moving. We know that it doesn’t happen ten times in life, so we try to take advantage of it. It’s something super beautiful to travel with this film, to see the reactions, the people who talk to me about their lives, who say to me: I have the impression that you put cameras in my house… That is beyond us. I don’t think the film belongs to us anymore. It’s an object that is no longer ours and that’s the wonderful thing about creating something, in art: it’s when this something no longer belongs to us, that the others appropriate it.

With all of this, do you have time to work on your next project? And how do we not get a big head?

SO… (laughs) The answer to the first question: no, unfortunately, I only do promotion, so I have a lot of difficulty getting started on a project, but I can’t wait to do it. And for the second question: I have a very developed capacity for self-criticism. People close to me who know me know: I have trouble being constantly flattered by those around me. Furthermore, I haven’t seen the film since the Cannes screening. The pressure is there for the next project, the next film. What matters is what happens next. We know it: whether we have awards or not, it’s still just as difficult to make a film. So the prices are great, but how can I say… It’s not natural!