Ruben Östlund wins his second Palme d’or for “Triangle of Sadness”

Ruben Östlund wins his second Palme d'or for

The jury has returned its verdict. This is Triangle of Sadness by Ruben Östlund who won the festival’s prestigious award. This is the second time the director has received this award.

From our special correspondent in Cannes,

All the members were shocked by this movie “. With the second Palme d’or awarded on May 28 to Ruben Östlund, the Cannes Film Festival renewed its admiration for the art of fierce satire by the Swedish director. Triangle of Sadness (Without filter) fires red bullets at the beautiful and the rich gathered on a luxury cruise, symbol of a capitalism of mad violence.

We had only one goal, to try to make a film that interests the public and makes them think. We wanted the public to ask questions “, declared a Ruben Östlund transcended by the happiness of winning his second Palme d’or at the age of 48, five years after his consecration for his great popular success. The Squarea satire on the hypocrisy of the contemporary art world.

Triangle of Sadness (Without filter) is a ferocious and cruel vision on a derailed system, embodied by models, influencers, arms dealers or “ shit “. ” A communist is someone who has read “The capital” of Marx. An anti-communist is someone who has understood “Le Capital”, retorts the captain with an anarchist past to the billionaire who has just bought the luxury cruise after a dinner that ends in a strong swell, drunk or sick passengers at sea and an openness without limits. At this point, the system is unveiled, but far from being threatened. For this, the boat must be attacked by Islamic pirates and the rich must end up with the workers of the cruise on a desert island. Dispossessed of their bank account or their Instagram account, the rich lose their power. Then begins the class struggle transforming the former Madame Pipi into a new “dictator”. After provoking real storms of laughter among the spectators in the cinemas, Ruben Östlund visibly convinced the jury with his mixture of comedy, drama and satire which often borders on caricature turning in a vacuum.

At the same time, Östlund gave the signal on the stage of the Grand Théâtre Lumière to return to cinemas. Like the screenings without compulsory masks during the festival, for him, the Covid pandemic seems to be over. In any case, he kissed each member of the jury, starting with President Vincent Lindon before also giving kisses to Asghar Farhadi, Rebecca Hall, Ladj Ly, Jeff Nichols, Deepika Padukone, Noomi Rapace, Joachim Trier and Jasmine Trinca.

Grand Prize, Jury Prize ex-aequo…

The Grand Prize was awarded ex aequo to director Claire Denis for Stars at Noon and the Belgian Lukas Dhont for Close. Rightly, the French director thanked her main actress, Margaret Qualley, the daughter of Andie MacDowell who had played in Sex, Lies and Video by Steven Soderberg, Palme d’Or in 1989: ” Margaret, I saw her here for the first time in Cannes in a Tarantino film. »

At the center of this diplomatic thriller set in Nicaragua in the 1980s, Margaret Qualley puts her beauty to work in a story where her body and her heart occupy a place eminently larger than the story, to the point that one could almost speak of the festival’s most macho film. The American actress plays a woman who pretends to be an American journalist, but stands out above all for the fact that she lends herself to sexual relations with political and military authorities with disconcerting ease. All this to recover his passport which was confiscated from him for unknown reasons. Prevented from leaving the country, she then meets and falls in love with an English businessman, as handsome and rich as he is mysterious. And of course, that’s when the serious problems start to arise…

“Close”, plea for a new masculinity

On receiving his Grand Prix, Lukas Dhont, 31, was moved and in tears as he made a declaration of love to his mother for ” showing me the incredible impact that cinema can have “. After the Camera d’or for Girl in 2018, the Belgian filmmaker once again rocked the Croisette. Close is an almost impressionistic portrait of a breakup between two boys who have hitherto been so close that the girls at school are beginning to wonder if they are a couple. The director then follows the worries and the leaps of the souls of a childhood which ends causing a dramatic rupture between the friends. The strength (and weakness) of the film lies in the exploration of the banality of the gestures accompanying this radical transformation. By respecting the enigma of the inner life of boys, the camera sends us back to our own experiences and fantasies concerning the moulting during youth. And Close is above all a portrait of a budding masculinity based on desires and tenderness instead of producing traditional images with men in combat.

Song Kang Ho, after “Parasite”, the performance award for “Broker”

In a fairly similar sensibility is the performance of Song Kang Ho (who had amused us as the father of a family of impostors in Parasite by Bong Joon-Ho), Best Actor Award for his role as a small-time crook who got into baby trafficking. In The Lucky Stars (broker), by Japanese filmmaker Hirokazu Kore-eda, he succeeds in embodying the director’s irresistible desire to reverse the roles and question our vision of adoption, but also of masculinity and fatherhood.

The consecration of Iranian actress Zahra Amir Ebrahimi

As for Zahra Amir Ebrahimi, the Iranian actress embodies in a masterful way the pitiless portrait of Iran produced in the form of a thriller by the Danish director of Iranian origin Ali Abbasi. In holy spider (Nights of Mashhad), she lends impressive strength and determination to her role as a journalist investigating the murder of 16 prostitutes in the holy city of Mashhad. Her interpretation prize at Cannes is also a fabulous recognition for her after a very eventful career. In 2008, she was forced to leave her native country following a sex scandal. ” This film is about women, about their bodies. This film is filled with hatred, hands, breasts, everything that cannot be shown in Iran. Thank you Ali Abassi for being so crazy, so generous,” she said during the awards ceremony.

“Boy from Heaven”, a merciless fight between religious and political powers in Egypt

Swedish-Egyptian director Tarik Saleh has so far been known for his film Confidential Cairo describing the situation before the 2011 revolution. During his first participation in the Cannes Film Festival, he won the Screenplay Prize for his thriller Boy from Heaven. This very well-crafted story slowly but surely brings to light a merciless fight between the religious and political powers in al-Azhar University, the heart of Sunni Islam. In an Egypt torn between intrigues at the highest level, the life of a man gives way to reason of state.

“Hi-Han”, the film with six donkeys by Jerzy Skolimowski

The Jury Prize was awarded to two films ex aequo. The Eight Mountains (The Otto Mountain), by Belgians Charlotte Vandermeersch and Felix Van Groeningen, tells the story of two friends separated by life, but where each finds the essence of themselves in the mountains.

With EO (Hi Han), the other Jury Prize, Jerzy Skolimowski takes us into a New Cinematic World. For the fourth time rewarded at the Cannes Film Festival, the Polish director, 84, first thanked ” all six donkeys » of his film before greeting the public with a brotherly « hi-han ». Indeed, his new work teaches us to look at our common world through the eyes, ears and moods of a donkey. It is his impressions that provoke the images and sound effects of the film and guide us during the crossing of this story told as a new form of cinema in the making.

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