In the surprise Palme d’Or attributed to square, Ruben Östlund’s well-conceived, forceful, but occasionally rather reverent piss on the art world, Cannes impatiently awaits the director’s next move. His follow-up, broadly a one percent sociopolitical satire of influencer leadership, absorbs all of Österlund’s best qualities—namely formal verve, a strict eye for cringe comedy and A rabid desire for farce — and toppling them together to make a film that is almost pure joy, its relentless attack on our world’s unequal privilege is a sledgehammer in the best possible way. Sorrow Triangle is a very pleasing film, and in addition to its many qualities, it also has a good scene with an ongoing vulgar comedy that makes the vomit sequences go from Team USA: The World Police looks like from View room.
Sorrow Triangle– Named for the slightly frowning area between one’s eyebrows (in this case, between the beautifully sculpted brows of the gorgeous male model Karl, created by Harris Dickinson) spends the top third in the world of models and influencers. We first meet Carl in an audition in the company of two dozen other boob-blessed demigods, and then watch him engage in a harrowing, tragic, restaurant bill with his South African influencer girlfriend Yaya. Beautifully written arguments. From there, the film repairs the couple’s continuing voyage that ends up going laughably wrong (and culminates in the aforementioned gut-and-gut-churning sequence), and in the third act, the couple find themselves caught Trapped on a deserted island in the company are several other multi-millionaire passengers and a kitchen worker.
From all these scenes, Ostrund drained every drop of bitter comedy, showing a keen eye for detail not only in the way he writes dialogue, but also in his staging and composition. Very formal brio. For example, during Carr’s early spat with Yaya over restaurant bills that she wanted him to pay, Ostrund digs deep into every aspect of the argument, teasing out elements of language, gender representation, couples’ sexual dynamics, and subtly in the elevator There is a scene in the elevator where the door in the elevator is permanently closed between the two protagonists, causing Carl to angrily reach through the door every minute. This great attention to detail, and the sheer joy such a device can create in the audience, is everywhere in this film’s birthday present. It’s at a pair of old arms dealers on a cruise ship named Clementine and Winston (named after Churchill and his wife); it exists in a biting satire of Insta’s influence, in one scene , Yaya poses for a series of photos with a bowl of spaghetti before throwing it away because of her gluten intolerance. After a while, even Harris Dickinson walks around the place topless in almost every scene, which in itself is very funny.
In this film, Erstrund kicks the grotesque, wealthy upper classes of the new globalized world order. It should be stated in advance that, while the director’s intentions are correct, his attack is not at all subtle: during the film’s parade part, Erstrund spends considerable time discussing the conflict between American Marxists and Russian capitalists. Arguing; in the island section, he devised a whole new social hierarchy as refined as a herd of elephants rampaging through the savannah. But in a film so delicious, where the sheer anger of the discourse is exacerbated by sinister visual gimmicks, the subtleties are not the order of the day. When trapped millionaires start being led by ex-maids to their desert island, where the rich and the poor are made equal overnight, Erstrund’s point is as evident as a punch in the face. But the fun is in the execution: Abigail (played brilliantly by Dolly De Leon), the fragmented society’s new boss, demands submission from her fellow citizens, who all have to call her “Captain” to get food. In this seemingly trivial scene, but filled with white-hot anger, Harris Dickinson’s reputation as a model is now all but (almost) gone. Another layer of shockingly bleak embarrassment is added when Carl realizes he can trade his sexual attraction for food.
Dickinson plays the lead role of Carl, who discovers Sorrow Triangle His best role since Eliza Hitman’s young queer character beach mouse: It’s a miracle to see him being used so well by Erstrund, who knows exactly how to take advantage of Dickinson’s charisma, talent, and (especially) his smile and confident attitude towards his own personal beauty.watch him read Ulysses Stripping naked (stunning visual gimmick) or having a little fight with your girlfriend because she notices an attractive man, or spraying yourself with a bottle of perfume on a desert island, such luxuries can’t be less relevant and generate a lot The joy of such a movie. Why aren’t there more movies that make charismatic people hilarious?
“Why aren’t there more movies that make charismatic people hilarious?“
exist square, Östlund occasionally gets lost in his story by being overly didactic, which partly affects the film’s formal precision and juicy comedy. Here, the director certainly has a purpose, but in a less emotive way, culminating in the desert island section, where the director is able to tease out everyone’s socio-political relationships without letting the jokes go.Here, the metaphysics of being is related to officecringe comedy style In a completely natural way, like in a delightful scene, Carl and another castaway disobey Abigail and break into the group’s rationed pretzel sticks. Carr’s fragile relationship with Yaya is also put to the test here, in a way that feels very real.
Sorrow Triangle It’s imperfect, some would consider it overly long, but the sheer guts of its enterprise, the Swift-like, tearing-everything verve of its sets, and Östlund’s unmistakable eye for executing a true cinematic farce , making it the most delightful film ever shown in Cannes.