‘Triangle of Sadness’ Review: Ruben Östlund Falters In This Broad Class Satire [Cannes]

Winner: Neon. The indie distributor has a special touch with Palme d’Or winners. Following 2019’s “Parasite” and 2021’s “Titane,” Neon landed North American rights to this year’s big Cannes champ: Ruben Östlund’s comedy “Triangle of Sadness,” which stars Woody Harrelson as a rabid Marxist who is the captain of a cruise for the super-rich.

The closing ceremony for the 2022 Cannes Film Festival provided a number of surprises. The biggest being “Triangle of Sadness” taking the Palme d’Or.

The 75th Cannes Film Festival is coming to a close on Saturday afternoon, and after much speculation as to what would take home the top prize, it was a familiar winner striking gold again. For the second time in five years, director Ruben Östlund won the coveted Palme d’Or for his English-language debut film, “Triangle of Sadness.” Östlund first won the prize back in 2017 for “The Square” and beat out eighteen other films to win this year’s top prize.

NEON earned bragging rights tonight with the third consecutive Palme d’Or Cannes winner in a row, that being Ruben Östlund’s satirical comedy Triangle of Sadness, which was a huge crowd pleaser during the fest.

The 75th Cannes Film Festival is coming to a close on Saturday afternoon, and after much speculation as to what would take home the top prize, it was familair winner striking gold again. For his second time in five year, director Ruben Östlund won the coveted Palme d’Or for his English-laungage debut film, “Triangle of Sadness.” Östlund first won the prize back in 2017 for “The Square,” and beat out eighteen other films to win this years top prize.

Refresh for latest…: The 75th Cannes Film Festival draws to a close tonight as the main awards, including the Palme d’Or, are soon to be handed out in the Palais. Scroll down for the list of winners which is being updated as prizes are announced.

Afternoon Insiders, Max Goldbart here. Cannes is wrapping and we have the very latest from the Croisette, plus a hell of a lot more in this week’s deep dive. Read on.

Leo Barraclough International Features EditorOn Saturday, film and TV funder Medienboard Berlin-Brandenburg celebrated the six films that it funded running in the official program of the Cannes Film Festival.These were Ruben Östlund’s “Triangle of Sadness,” in Competition, Ali Abbasi’s “Holy Spider,” in Competition, Emily Atef’s “More Than Ever,” in Un Certain Regard, Mia Hansen-Løve’s “Un beau matin,” in Directors’ Fortnight, Sergei Loznitsa’s “The Natural History of Destruction,” in Special Screening, and Mantas Kvedaravicius’ “Mariupolis 2,” in Special Screening.Commenting on the role Medienboard played in funding the films in Cannes, the organization’s chief Kirsten Niehuus said: “Medienboard Berlin-Brandenburg and other film funds play an important role in sustaining high quality cinema in Europe and in international co-productions around the world.” Speaking about the type of films Medienboard likes to fund, she said: “Not very original but true – we prefer films that bring something original to an audience. That goes for mainstream as well as young talent and arthouse.

Swedish director Ruben Östlund‘s already won one Palme d’Or at the Cannes Film Festival; in 2017 for “The Square.” And while he’s back in Cannes again this year with “Triangle Of Sadness” to try and win another, he already has his next film in mind, with Woody Harrelson set to star for him again. READ MORE: ‘Triangle Of Sadness’ Review: Ruben Östland’s Falters In This Broad Class Satire [Cannes] In an interview with Variety, Östlund gave details about the new project, including its title and premise.

Manori Ravindran International Editor[Warning: Spoilers ahead for “Triangle of Sadness”]Dolly de Leon doesn’t get very far in Cannes without being stopped in the street by enthusiastic supporters. The scene-stealing Filipina actor stars in Ruben Östlund’s festival sensation “Triangle of Sadness,” where her every line has so far prompted cheers in press and public screenings alike.De Leon plays Abigail, a toilet manager on a chaotic cruise ship who gets her own back on her bosses and guests when, well, shit hits the fan.

Observed in isolation, detached from the body or in extreme close-ups, organs and other vital viscera resemble moist masses of soft tissue plucked from alien landscapes in the unflinchingly immersive medical documentary “De Humani Corporis Fabrica.” Alternating between footage from cameras inserted into patients for the purpose of treating ailments and grisly shots from the operating room, directors Verena Paravel and Lucien Castaing-Taylor, the team behind the striking non-fiction film on fishing “Leviathan,” apply their fascination for uncanny imagery with relativist intent to the inner workings of French hospitals and, in turn, the human body.

Neon has acquired North American rights to Ruben Östlund’s buzzy satire, Triangle of Sadness, following its world premiere in competition at the Cannes Film Festival.

A balloon shaped like a heart flies from the open window of a taxi. It is late at night and the woman (Leila Hatami) who this gift was bestowed upon simply couldn’t care less about the useless trinket, far more interested in comparing the quality of the accompanying chocolate boxes dispensed by a handful of men who wish to have her as a Valentine.

The 2022 Cannes Film Festival is finally here, and with the event comes many premiers of extraordinary talent. Movies like “Decision To Leave” by Park Chan-Wook or documentaries like “Moonage Daydream” by Brett Morgen have premiered at the event, already sparking good reviews.

The great majority of us could only aspire, before “Moonage Daydream,” to step into the mind of David Bowie — the persona, the artist, the entity not yet proven terrestrial. Eclectic, unashamedly maximalist, and variously philosophical: all true of both the man himself and Brett Morgen’s feature-length docu-odyssey, which borrows its title from the 1976 hit, and just debuted as part of Cannes’ Midnight slate.

A drastic departure from his prior films “Border” and “Shelley,” Ali Abbasi’s newest film, “Holy Spider,” draws inspiration from the 2000-2001 crimes and subsequent trial of Saeed Hanaei (played here by Mehdi Bajestani), a war veteran-turned-serial killer in the Iranian city of Mashhad who murdered 16 sex workers, claiming that he was cleansing the holy city of sinners and corruption in the name of Islam.

Elsa Keslassy International CorrespondentAfter winning the Palme d’Or with “The Square,” Ruben Östlund has shocked Cannes audiences again with “Triangle of Sadness,” an equally provocative social satire starring Woody Harrelson as a rabid Marxist who is the captain of a cruise for the super-rich. “Triangle of Sadness” is so far the most buzzed-about movie in competition and a domestic deal believed to be in the $8 million arena is currently being negotiated. Östlund spoke to Variety about his original way of developing scripts and casting, and the sociological aspects of both “Triangle of Sadness” and his next project “The Entertainment System Is Down,” which he said will star Harrelson as the “captain of an airplane.”It’s now 2 hours and 22 minutes.

Clayton Davis The best movie involving a boat since “Titanic” with the best vomiting sequence since “Team America: World Police,”  Ruben Östlund’s “Triangle of Sadness” is an energetic and wacky examination of class, gender norms and culture, woven into a dynamite script. After debuting at Cannes, Östlund’s English-language debut will finally introduce the Swedish writer and director to more mainstream American audiences, and possibly even Oscar voters.The film tells the story of Carl (Harris Dickenson) and Yaya (Charlbi Dean), two fashion models and a celebrity couple who in three narrative chapters explore their roles in each other’s lives — following a dinner date, a luxury cruise and a shocking x-factor that presents an interesting turn of events.

The films of French filmmaker Quentin Dupieux are at their best when they combine his penchant for ludicrous but simple what-if scenarios, with his perceptive eye for humor in everyday life and banal interactions. He would probably hate his cinema to be pinned down in this way: though he has proven that he can subscribe to straightforward storytelling with “Deerskin” (which premieres at Cannes in 2019) and “Incredible But True” (Berlinale 2022), the French director and absurdist also enjoys leaving the demands of logical plot developments behind in favor of a freer style.

Timing can be cruel. Norwegian director Kristoffer Borgli’s second feature, Sick Of Myself, has the misfortune to arrive in the Cannes Film Festival’s Un Certain Regard section in the slipstream of Ruben Östlund’s divisive but funny competition title Triangle of Sadness; the latter being a broader, sillier but much more brutal dissection of class and culture. Sick Of Myself also has to compete with the unexpected longevity of fellow countryman Joachim Trier’s hit The Worst Person In The World, which last year went from the Cannes competition all the way to the Oscars.