“Hello, my name is Justine Triet and I am the co-writer and director of “Anatomy of a Fall”. » “You’ve got the best idea in the book.” How am I supposed to get back there? Do you realize how cynical of you that is? “You can publish your own version. Say it inspired me. I admit it. “So this scene comes very late in the film. And it is the sound of an argument recorded in the court towards the end of the trial, trying to elucidate the death of the man that we finally come to see on the screen. His wife is the accused, and this is the only time we see or hear them interact. “I live with you and you impose everything. You impose your own pace, your schedule. You even impose your language. Even when it comes to language, it’s me who meets you on your land. We speak English at home. “I’m not on my land. I don’t speak my mother tongue. “The characters called Sandra and Samuel are therefore played by the actors of the same name, Sandra Hüller and Samuel Theis.” “- to create common ground so that no one has to meet the other on their ground. That’s what English is for. It’s a meeting point. You can’t blame me for that. “But we live in France.” “There was a lot at stake. We had to live up to the tease of the scene. We had to provide a certain amount of information and know the character of the deceased husband. The jury and the public listened to the recording. The employee displays the French transcription of the argument on the computer screen, and Sandra is confronted with her own voice, with the intimacy of her marriage. And at that moment we enter the scene. We see it. For a long time, we wondered if the scene should not remain only sound. But because sound has the power to give the perfect illusion of present reality, we decided to delve into it. And if you close your eyes, you can really believe that people are there. We could almost say that it is the inner vision of the visually impaired child at the moment when he hears his parents’ voice. For me, it’s not a flashback. It’s an illustration of a sound, so it’s present. I wanted the viewer to have the very strong sensation of being projected into this intimacy. So we are in these people’s kitchens, and they are talking about very concrete things, about their daily lives, about the way they organize their lives and distribute responsibilities. They are professional and balance their frustrations. And the idea of the scene is simple: to show the reason for a conflict and then violence between two people, a battle of arguments and ideas within a couple. So we filmed with two cameras so as not to lose any of their energy. We had to film their words, the words that come out of their mouths. It all depends on the actors, on the truth with which they say it. And then there is a language. They speak English, which is not their language. He is French, she is German and it is in English that they meet. And even this becomes one of the subjects of the conflict, the linguistic question. I wanted to shoot this scene in daylight, with strong light and a bright sun. Often, very dramatic intimate scenes are filmed at night, as if intimacy were separated from the rest of life. And here I choose the opposite. And the contrast between light and violence is even stronger for me. “I have nothing to do with this. You are not sacrificing yourself, as you say! You choose to stay away because you are afraid, because your pride makes your head explode before you can even have the little germ of an idea! And now you wake up, you’re 40, and you need to blame someone. And you’re the one to blame! » “They are never filmed in the same frame , except briefly at the beginning.” “It’s the truth. You are intelligent. I know you know I’m right. And Daniel has nothing to do with it! Stop it!” “You’re a monster.” “And as this violence breaks out and becomes physical, the image is taken away from the viewer and we return to the courtroom. We find ourselves in the position of the jury, and especially of the child Daniel, in a state of total uncertainty, not knowing who is hitting who. We suddenly realize that we didn’t see anything because we weren’t there. We will never know. [SOUNDS OF STRUGGLE] [GLASS BREAKING] [MAN AND WOMAN FIGHTING] [BLOWS LANDING] [THUD]
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