The Triangle of Sorrows wins the Palme d’Or at Cannes, as Ruben Ostrund takes coveted second award

Swedish director Ruben Östlund’s class war comedy The Triangle of Sorrows won the Palme d’Or at the 75th Cannes Film Festival, making Östlund one of the most prestigious awards in cinema for the second time.

In 2017, Erstrund won the Palme d’Or for his art-world dispatch The Square — a rare feat Saturday local time, taking home the top prize at the Cannes Film Festival for back-to-back films.

The Triangle of Sorrow — the climactic scene featuring Woody Harrelson as the Marxist yacht captain and rampant vomiting — furthers the irony.

“We want after the screening [for people] Go out together and have something to say,” Erstrund said.

The award was judged by a nine-member jury led by French actor Vincent Lindon and presented at the closing ceremony inside the Grand Lumiere Theatre in Cannes.

Eight people line up on the red carpet in formal suits
Jury President Vincent Linden (centre) with (from left) jury members Ladj Ly, Jeff Nichols, Rebecca Hall, Jasmine Trinca, Joachim Trier, Deepika Padukone and Asghar Farhadi.(Associated Press: Joel C. Ryan)

The jury’s second prize, the Grand Prix, was shared between Belgian director Lukas Dhont’s tender childhood drama “Close” and French film legend Claire Denis — The story of two 13-year-old boys tragically separated after their close relationship was ridiculed by classmates. ‘Stars at Noon’ is based on Dennis Johnson, with Margaret Cooley as a journalist in Nicaragua.

South Korean filmmaker Park Chan-wook (“Old Boy” and “The Handmaiden”) took home the director’s award for his twisty noir “Decided to Leave,” a romance with a police procedural twist.

South Korean star Song Kang-ho was named best actor for his performance in the Japanese director Hirokazu Koreeda’s “The Agent,” about a South Korean family searching for a home for an abandoned baby.

Song Kang-ho, who won the Best Actor Award for
Song Kang-ho won the Best Actor Award for “The Agent,” in which the Japanese director is Hirokazu Koreeda.(Associated Press: Petros Giannakouris)

“I want to thank everyone who appreciates Korean films,” said Song, who starred in Bong Joon-ho’s Palme d’Or-winning film “Parasite,” three years ago at Cannes.

Best Actress goes to Zar Amir Ebrahimi for her role as a reporter in Ali Abbasi’s “Holy Spider,” a true crime thriller about Serial killer of sex workers in the religious city of Mashhad in Iran.

Violent and graphic, Sacred Spider is not allowed to be filmed in Iran, but made in Jordan. Accepting the award, Ebrahimi said the film depicts “everything that is impossible to show in Iran”.

Zahra Amir Ebrahimi, Best Actress for her 'Holy Spider' pose for photographer
Zahra Amir Ebrahimi won Best Actress for her role in The Holy Spider.(Associated Press: Vinyl Carr)

The Jury Prize was split equally between Charlotte Vandermeersch and Felix Van Groeningen’s friendship story “Eight Mountains” and Polish director Jerzy Skolimowski’s EO, about a donkey’s journey through the unforgiving modern Europe.

“I want to thank my donkeys,” said Skolimovsky, who also named all six donkeys used in the film.

The jury also awarded Belgian directors Jean-Pierre and Luke Darden a special prize at the 75th Cannes Film Festival – two-time Palme d’Or winners and regular appearances at the festival for a long time – for their immigrant dramas “Tori and Lokita”.

Swedish-Egyptian filmmaker Tarik Saleh has won best screenplay at the Cannes Film Festival for his thriller “The Boy from Heaven,” shot in Cairo’s Al-Azhar Mosque.

The Golden Camera Award for Best First Film went to Riley Keough and Gina Gammell’s War Pony, a drama about the Pine Ridge Reservation in collaboration with the citizens of Oglala Lakota and Sicangu Lakota.

Cannes return post-COVID

Saturday’s closing ceremony kicked off the Cannes Film Festival, which attempted to fully revive the annual French event that was canceled in 2020 due to the pandemic, and last year’s crowds were small.

This year’s festival is also set against the backdrop of the war in Ukraine, which has sparked protests on the red carpet and conversations about the purpose of wartime films.