Journey Into the Oscar-Winning "Anatomy of a Fall": Exclusive Insights Await

Script assistant Anouk Delpeut talks about working for an Oscar-winning film, her experiences on set, and behind-the-scenes insights

Anouk Delpeut. Photo by Quentin Lacombe.

The Oscar for Best Original Screenplay at the 96th Academy Awards was won by Anatomy of a Fall, a French legal drama film directed by Justine Triet from a screenplay she co-wrote with Arthur Harari. The protagonist is Sandra Hüller, a writer who tries to prove her innocence in her husband’s death.

Can you tell us your initial reaction to hearing Anatomy of a Fall announced as the winner?

Anatomy of a Fall won many awards before the Oscar nomination, but the most profound emotion for me was when it received the Palm d’Or award. It was a huge achievement, the film’s first significant recognition and perhaps the most prestigious award for a feature film. Before the unexpected success, Justina Triet’s speech seemed extraordinarily courageous and impactful, bringing others into a collective interest. All these aspects touched me deeply. It’s encouraging to see so many people recognize the quality of the script and the precise and intelligent work that went into making this film. Also, it helped introduce audiences to Justine’s filmography, which I’ve admired from the beginning.

What sets the script apart and makes it worthy of such prestigious recognition?

When I received it, about a month before filming, the script was very well written. It is intriguing because of its complexity without a hint of pretension and its subtlety while remaining approachable.

Its ambitious nature made it particularly engaging, featuring long monologues that sometimes ran between seven and eleven pages. It represents Justine Triet’s most classic film without losing her “messy” style, infusing scripted scenarios with authentic life reactions.

Did you influence the outcome of the script?

The script did not change much. While a few sequences were omitted, the main story remained unchanged due to its exceptional quality. Also, the actors’ performances didn’t significantly modify the script. Our focus was refining various acting techniques. Sandra Huller delivered outstanding performances with every take.

Behind-the-scenes moments by Anouk Delpeut.

The film’s setting, an isolated cabin in the snow, adds an interesting atmosphere to the story. In which way does the script use the setting to improve the narrative and create tension?

Imagine: blood in the snow.

As Justine Triet and Arthur Harari said, snow was among the first ideas.

The questions are:

Who loves isolation more?

Who follows whom and compromises in their couple?

Then, of course, tension is created because one of the reasons for Sandra and Samuel’s relationship falling out is that they moved there, and also, there are no witnesses to the accident, the murder or the suicide.

Anatomy of a Fall explores complex themes of doubt, suspicion, and relationship breakdown. How did you and the writing team ensure the script presented these themes?

As script supervisors, our primary role at the beginning of a new project is to ensure consistency and continuity. While artists occasionally request our input, the directors ultimately make the final decisions. During filming, our focus remains on maintaining continuity, although we also serve as initial viewers and can share our thoughts.

Each of your projects, including Anatomy of a Fall, Paysage aux Torchons and La Distraction, explores different storytelling themes and approaches. What are some unique perspectives you gained from working on these projects?

Each project makes you grow, and I love that movies can indeed be different from one to another. In Anatomy of a Fall, I was the assistant script supervisor and in charge of the background picture continuity most of the time, and I could tell staging things to Clementine Schaeffer that she decided to trace or not.

When I am script supervisor in chief, I have more responsibilities. Because I oversee global continuity, I can tell directors some staging things they will later choose to use or not. But when I’m the editor, I have more materials to work with, and I always answer the director’s directives.

Magazine version written and designed by Cristina Sandu: