Justine Triet on Bending the Codes of a Courtroom Drama With her Cannes Palme d’Or Contender ‘Anatomy of a Fall,’ Bought by Neon

Jane Fonda found a way to get director Justine Triet’s attention after she left the stage without her award at the Cannes Film Festival over the weekend.

Elsa Keslassy International Correspondent The Cannes Film Festival managed to avoid pensions reform’s protests and a power cut during its entire duration, but Palme d’Or winning director Justine Triet made up for both with a fiery political speech that took aim at the French government. Her impassioned plea became instantly viral and has been dominating headlines in French media. After being introduced on stage by Jane Fonda and thanking her partners on the film and Cannes’ jury, Triet said the country “was rocked by an unprecedented protest movement that was extremely powerful and unanimous against the pensions reform.” She argued that the “protest was denied and suppressed in a shocking manner, and this pattern of increasingly uninhibited dominating power is now at work in several areas; obviously socially is where it is the most shocking, but we also see it in all spheres of society, and the film industry hasn’t been spared,” said Triet, drawing cheers and a few boos from the captive audience inside the Lumiere Theater.

pic.twitter.com/6tv8TEj8zwFonda, an honorary Palme d’Or winner herself, presented Triet the prestigious award for her dramatic thriller film “Anatomy of a Fall” (“Anatomie d’une Chute”). In her speech, Fonda reflected on the first time she attended the French film festival many years ago.“There were no women directors competing at that time, and it never even occurred to us that there was something wrong with that,” Fonda said. “We have a long way to go.

Neon has continued its remarkable streak of consecutive Palme d’Or wins with English and French-language drama Anatomy Of A Fall.

Cannes jury head has described the process of selecting the Competition winners as a “very intense experience”, at the jury press conference following the Palme d’Or victory for Justine Triet’s Anatomy Of A Fall. You can see the full list of winners here.

It’s a wrap for the 2023 edition of the Cannes Film Festival, where French director Justine Triet’s courtroom thriller “Anatomy of a Fall” has won this year’s Palme d’Or for best film.

Variety‘s critics pick the most notable dozen. Distributor: Neon One of seven women filmmakers in competition, Justine Triet has taken a familiar genre (the court- room drama) and turned it on its head. A frustrated writer dies of suspicious causes, leaving behind clues that implicate his wife (Sandra Hüller).

Elsa Keslassy International Correspondent Girls Supports Girls, the French film sorority launched by producer Vanessa Djian and publicist Karolyne Leibovici, made its debut at this year’s Cannes Film Festival with the backing of Orange, in association with Kering. A flurry of French female talent, notably “Simone” actress Elsa Zylberstein and “Houria” director Mounia Meddour, took part in the networking luncheon which was hosted on the rooftop terrasse of Kering’s Women in Motion event at the Majestic hotel. Djian, whose production banner Daïdaï Films recently became part of Newen Group, and Leibovici, the founder of A&K communication, launched Girls Supports Girls four years ago to connect and create opportunities for female producers, actresses, executives and diverse talent coming from the film, TV and media industries.

Elsa Keslassy International Correspondent Wscripted, the talent platform sourcing women and non-binary writers, has unveiled the nominees for its third Cannes Screenplay List, an initiative launched in partnership with MUBI. The final selection was curated by an inaugural jury of international female filmmakers, including Mounia Meddour (“Papicha”, “Houria”), Funa Maduka (“Waiting for Hassana”), and Camille Griffin (“Silent Night”). The list features 10 English-language and two French-language film projects by women and non-binary screenwriters and celebrates original projects from development to early financing stages.

Elsa Keslassy International Correspondent Leading lights of contemporary Iranian cinema, including ‘Holy Spider’ actor Zar Amir Ebrahimi, ‘The Siren’ director Sepideh Farsi, ‘The Opponent’ helmer Milad Alami and producer Kaveh Farnham, turned up at the Cannes Film Festival to raise the alarm on the repression faced by Iranian cinema during a session hosted by Amazon Prime Video’s Sahar Baghery. Iran has been the centerstage of widespread protests driven by women against the Islamic Regime since Mahsa Amini died in police custody for for wearing her hijab too loosely in September 2022. Although the rebellion has garnered vocal support outside of Iran, it hasn’t succeeded in dethroning the Iranian Regime. A number of dissident Iranian filmmakers and talent have been jailed over the last six months, notably Jafar Panahi and Mohammad Rasoulof who was recently released from prison. Rasoulof was nevertheless banned from leaving Iran to serve on the jury of Un Certain Regard at Cannes.

Elsa Keslassy International Correspondent “Tiger Stripes,” the debut feature of Malaysian director Amanda Nell Eu, won the Grand Prize at Cannes’ Critics Week, the Cannes sidebar dedicated to first or second films. The prize was awarded by a jury presided over by Audrey Diwan, the Venice prizewinning director of “Happening.” The French Touch Jury Award went to Belgian director Paloma Sermon-Daï’s “It’s Raining in the House,” a film about adolescence, while the Revelation prize from the Louis Roederer Foundation was handed out to Jovan Ginic, the actor of Vladimir Perisic’s “Lost Country.”  The SACD prize, meanwhile, went to “Le Ravissement” by Iris Kaltenbäck.

Elsa Keslassy International Correspondent Alireza Khatami and Ali Asgari‘s “Terrestrial Verses,” the sole Iranian film premiering in Cannes’ Official Selection, has been acquired for distribution in key European territories. Represented by Films Boutique, “Terrestrial Verses” has been acquired for France (ARP Selection), Benelux (September Films) and Germany/Austria (Neue Visionen). All three banners are leading distributors in their respective territories. Those deals were closed following the film’s well-received world premiere. “Terrestrial Verses” marks the first collaboration between Khatami and Asgari, who are both acclaimed directors.

French director Justine Triet’s Anatomy Of A Fall premiered in Competition at Cannes over the weekend to a buzzy reception with its star Sandra Hüller being tipped as a front-runner for the festival’s coveted best actress prize.

Neon has acquired North American rights to Justine Triet’s Cannes Competition feature Anatomy of a Fall.

Manori Ravindran Executive Editor of International Neon has acquired Justine Triet’s Hitchcockian courtroom drama “Anatomy of a Fall.” The U.S. distributor has been “aggressively pursuing” the competition title, which premiered in Cannes on Sunday to rapturous reviews, and has beat out competition. In the 150-minute film, a frustrated writer dies of suspicious causes, leaving behind clues that implicate his wife (Sandra Hüller) of his murder. Much of the film is focused on the ensuing trial, and features German star Hüller, known to international audiences for “Toni Erdmann,” delivering a powerhouse performance as a woman fighting to clear her name while protecting the couple’s young son. (Hüller previously teamed with Triet for psychological drama “Sibyl,” which also competed for the Palme d’Or at Cannes in 2019.)

Jennifer Lawrence is turning heads with her stunning look at the 2023 Cannes Film Festival.

Elsa Keslassy International Correspondent A bold departure from France’s cinema tradition of social realism, Thomas Cailley’s widely ambitious sophomore outing “The Animal Kingdom” is equally a creature-filled dystopia, an emotionally charged father-and-son drama and a coming-of-age tale. The character-driven film world premiered to warm reviews at the Cannes Film Festival where it bowed the Un Certain Regard section. “The Animal Kingdom” is represented in international market by Studiocanal and was produced by Pierre Guyard at Nord Ouest Films, and co-produced by Artemis. “The Animal Kingdom” takes place in an undetermined future in France which has been swept by a genetic disease causing people to transform into creatures that are being hunted down and killed or institutionalized by authorities. Kircher, the breakout star of Christophe Honoré’s “Winter Boy,” plays 16-year-old Emile whose mother was institutionalized after showing first signs of a genetic mutation. He lives with his father Francois (Romain Duris) who is struggling to overcome grief.

French director Justine Triet returns to Competition with a cerebral smash that might finally bring the Best Actress award that its star, Sandra Hüller, was cruelly denied in 2016 when Maren Ade’s festival hit Toni Erdmann lost out in every category. That film wasn’t everyone’s cup of tea, and the formidably forensic Anatomy of a Fall might not be either, but Hüller’s screen magnetism cannot be denied. Between this and her role as “Queen of Auschwitz” in Jonathan Glazer’s equally brilliant Zone of Interest, Hüller has Cannes in the palm of her hand. Whether she will also get a Palme in her hand is up to the jury.

Justine Triet’s “Anatomy of a Fall,” playing in Competition at this year’s Cannes Film Festival, begins with an interview between a writer and a student interested in her work. It’s a lighthearted, almost flirty discussion where double entendres are part of a seemingly harmless game.

Peter Debruge Chief Film Critic Depending on where you come down on the question of its main character’s guilt or innocence, Justine Triet’s “Anatomy of a Fall” could be seen as a kind of “Gone Girl” in reverse: A frustrated writer dies of suspicious causes, leaving behind clues that implicate his wife (Sandra Hüller). If the man’s death was a suicide — and the bilingual (half-English) movie strongly points in that direction — then there’s a terrible cruelty to what follows, as his grieving wife is hauled into court and tried for his murder. Their 11-year-old son is obsessed with trying to make sense of what happened, whereas it’s the death of the marriage, not the husband, that preoccupies Triet. Can any couple’s relationship withstand the kind of scrutiny this one is subjected to, as old fights and infidelities are dragged into the open?