A great Cannes in the shape of a pear, awarding the Palme d’Or to the Triangle of Sorrows | Cannes 2022

TonHis Cannes Film Festival that year brought another member to the Twin Palms Club, the two-time award-winning director, with Ken Lodge and Darden Brothers – Among other things. Ruben Östlund, 2017 winner for art world black comedy squareNow Pick up Palme again For another geometrically named movie: Sorrow Trianglea glossy, sexy satire on fashion, globalization, narcissistic culture, and the super-rich.

Well, maybe this is the movie the world needs right now: movies that are uncomfortable, movies that feel bad, but also movies that don’t make us too sad and make us feel more confident about who the bad guy is. We need a movie about a bunch of nasty rich idiots on a boat with nowhere to go, who the hell, a movie that expresses our cynical and exhausted contempt for the world without challenging too much our own emotions. That’s how we all feel, and maybe the Triangle of Sadness can fix that. The Triangle of Sorrows may well speak to the zeitgeist, but it’s not as interesting (or initially) as it might seem.

Sorrow Triangle.
Sorrow Triangle. Photo: ©Plattform-Produktion

British actor Harris Dickinson plays a fashion model who fears his career will be washed away (a brutal art director tells him of his “triangle of grief”, the area on his forehead above his eyebrows , not all it’s possible). Perhaps to cheer him up, his boring and selfish fashion model girlfriend Yaya (Charlbi Dean) takes him on a luxury cruise, thanks to her massive Instagram influencer following. But this fool’s ship of chaebols and undeserving tycoons, piloted by a crumbling captain (Woody Harrelson), is heading for disaster, and the only person who can help is the onboard toilet cleaner, owned by the ship’s Dolly De Leon, one of the invisible servants, is deftly played.

The Triangle of Grief – like everything else this year – is divisive. The opening part is funny, but otherwise it’s derivative (with ideas drawn from Marco Ferreri’s La Grande Bouffe and JM Barrie’s The Admirable Crichton) and harsh. Others love its unmistakable audacity and performance, and of course it’s ambitious too. This movie is definitely a talking point. But none of the ideas in it were more nuanced, valuable, powerful than in his previous film, The Square, which I find superficial. Perhaps its internationalist/stateless cast and setting helped it find a consensus among the jury.

Lukas Dhont and Eden Dambrine celebrate the victory for Close.
Lukas Dhont and Eden Dambrine celebrate the victory for Close. Photo: Joel C Ryan/Invision/AP

Grand Prix (jointly) in the movie everyone here loves: Lukas Dhont’s fiery, fiery drama about the relationship between two 13-year-old boys, and it’s really well done ,very touching.whatever my (infinitesimal) reserves close, I personally think it’s far superior to the sensational Triangle of Sorrows filmmaking. But here, the #Cannes2022 curse of division and frustration rears its head again.The award is given jointly (two of them) and it has to share the platform with Claire Denis’s funny but flawed and rather minor film noon stars, was ridiculed by many critics. I found it an interesting attempt to fuse the personal and the political with the erotic encounter between an American sex worker and a mysterious British businessman – but the performance wasn’t exceptional.

The Jury Prize collectively went to one of my favorite films at the Cannes Film Festival: eight mountains, by Felix Van Groeningen and Charlotte Vandermeersch, about two straight men building a cabin together to spend the idyllic summer they were deprived of as children, is fantastic.Eight Mountains and EO, a film about donkeys (indirectly inspired by Robert Bresson’s Au Hasard Balthazar), created by two legends. It is directed by Polish master Djerzy Skolimowski, who first came to Cannes in 1972, with a film starring David Niven and Gina Lollobrigida, by British independent producer Jerry Produced by M. Thomas. EO is a movie that sprouted in my mind after watching it, and it was loved by many people in Cannes.

Song Kang-ho won the Best Actor Award for
Song Kang-ho won the Best Actor Award for “The Agent”. Photo: Stéphane Mahé/Reuters

My personal pick for the Palme d’Or is Park Chan-wook’s glorious noir romantic thriller decision to leave, the acting is superb — especially its exciting heroine, Tang Wei — and does a fantastic job on every level. Winning the Best Director award is obviously doing justice, although I had hoped for more. As for acting, the great Korean actor Song Kang-ho (beloved at Cannes for his huge lead in “Parasite”) won best actor for his emotional conflict liar who sold unwanted babies to childless couples prize.drama broker The director from Japan is Hirokazu Koreeda. It’s a good performance, although the movie itself isn’t Hiroko-eda’s best. Iranian actor Zar Emir-Ebrahimi, who won the Best Actress award as a (fictional) investigative journalist who solves a (real) serial killer case. Holy Spider ——Another good performance, although not in the Tang Wei Alliance who decided to leave.

I’m glad to see Tariq Saleh win best screenplay boy from heaven, his anti-cleric satire is also a spy drama, with no shortage of hints from John Le Carre – a very casual attack on Egyptian theocracy.But give Prix Speciale to the Dardenne brothers for their funny but rather mild social realism drama tori and lokita It feels like ancestor worship.

Jean-Pierre Dardenne and Luc Dardenne.
Jean-Pierre Dardenne and Luc Dardenne. Photo: Stéphane Mahé/Reuters

That’s it for this year’s Cannes Film Festival: Park Chan-wook, Lukas Dhont, Felix Van Groeningen and Charlotte Vandermeersch were rewarded for some excellent films – and the great flamboyant and pompous satire/sad triangle. But this year was a showcase of great work—a future treat for moviegoers.