2022 – The Great Cannes Festival turns into a pear and awards the Triangle of Grief | Palme d’Or at Cannes 2022

TThis year Cannes brought him another member of the Double Palms Club, and directors won him twice, including with Ken Loach and the Darden brothers. Robin Ostlund, who won the 2017 Grand Prix for his art world black comedy The Square, raises his palm again for another film titled Geometric: Triangle of Sadness, a brilliant and sexually charged satire on fashion, globalization, the culture of narcissism and the superlative. rich.

Well, maybe this is the movie the world needs right now: an uncomfortable food cinema, one that feels bad, but also one that doesn’t bother us too much and entices our sense of who the bad guys are. We need a movie about a bunch of rich, hateful idiots on a boat who go nowhere and deserve to die, a movie that expresses our cynical and debilitating contempt for the world, but also something that doesn’t challenge our sensibilities too much. This is the mood we all feel, and perhaps the sadness triangle appeals to that mood. The Sorrow Triangle can certainly appeal to the zeitgeist, but not as interesting (or original) as thought.

sadness triangle Photo: © Platform Production

British actor Harris Dickinson plays a model who fears his career will be upended (a tough art director tells him that the “sadness triangle,” the area on his forehead above his eyebrows, isn’t what it could be). Perhaps to cheer him up, his superficial and selfish model girlfriend Yaya (Sharby Dean) takes him on a luxury cruise that she’s gotten free thanks to her huge Instagram influencer. But this ship of fools, inhabited by the rich and undeserved fortunes and piloted by a captain (Woody Harrelson) on the verge of collapse, is headed for disaster, and the only person who can help is the ship’s toilet cleaner, skillfully played by Dolly De Leon, one of the ship’s invisible servants.

Like everything else this year, the Sorrow Triangle has been divisive. The opening section is interesting but otherwise derived (thoughts from Marco Ferreri’s La Grande Bouffe and JM Barrie’s The Admirable Crichton) and clumsy. Others loved her boldness and unquestionable showmanship, and she definitely had ambition. This film was undoubtedly the subject of debate. But there wasn’t an idea that wasn’t really developed in a more subtle, rewarding, yet powerful way in his previous movie, The Square, and it struck me because it’s so shallow. Perhaps his international/stateless environment helped him find jury consensus.

Lukas Dhont and Eden Dambrine celebrate their win at Close. Photo: Joel C Ryan/Invision/AP

The GP (collectively) went to the movie everyone here adored: Lukas Dhont’s intense and edgy drama about the relationship of two 13-year-old boys, which is already beautifully touching and deeply poignant. Whatever my (infinite) reservations about Close, I personally would have thought it was a lot better than making a big bragging like Triangle of Sadness. But here, too, the bane of division and dread in #Cannes 2020 is back again. The award was given jointly (one of two) and had to share the podium with Claire Denis’ intriguing but flawed and somewhat insignificant movie Stars in Noun, which many critics derided. I found it an intriguing attempt to confuse the personal and the political through her sexual encounter between an American sex worker and a mysterious British businessman – but the acting wasn’t number one.

The jury award went jointly to one of my all-time favorites: The Eight Mountains by Felix van Groningen and Charlotte Vandermerch, about two straight men who build a cottage together to spend the idyllic summers they were denied as absolutely gorgeous kids. The Eight Mountains shared the award with EO, a movie about a donkey (and indirectly inspired by Robert Bryson Au Hasard Balthazar) written by two legends. Directed by Polish professor Jerzy Skolimowski, who first came to Cannes in 1972 with a film starring David Niven and Gina Lollobrigida, and produced by Jeremy Thomas, the British giant of independent production. EO was a movie that came to my mind after watching it and was very much loved by many in Cannes.

Song Kang-ho with Best Actor Award for Broker.
Song Kang-ho with Best Actor Award for Broker. Photo: Stephen Mahe/Reuters

My personal choice for the Palme d’Or was Park Chan-wook’s wonderfully romantic film Decision to Leave, which was wonderfully cast – particularly by the sexy female lead Tang Wei – and brilliantly executed on all levels. The award for Best Director is clearly justified, although I would have liked more. For acting, the great Korean actor Song Kang-ho (he’s very popular here in Cannes for his phenomenal lead in the Palme-winning Parasite) won Best Actor as the emotionally wracked prankster who sells unwanted children to childless couples Serio- Comedy Broker by Japanese writer Hirokazu Kore-eda. It did well, even though the movie itself is hardly Kore-eda’s best film. Iranian actress Zar Amir Ebrahimi won Best Actress as a (fictional) investigative journalist solving the (real) case of a serial killer in Holy Spider—another good performance, if not as Tang Wei in Decision to Leave.

I was pleased to see the best screenplay for Boy from Heaven went to Tariq Saleh, his anti-clerical satire that was also a spy drama with more than a touch of John le CarrĂ© – a perilous attack on Egypt’s religious government. But awarding the Darden brothers a Prix Special for their intriguing but somewhat modest social realism drama Tori et Lokita felt like an ancestor.

Jean-Pierre Dardenne and Luc Dardenne.
Jean-Pierre Dardenne and Luc Dardenne. Photo: Stephen Mahe/Reuters

It was at Cannes this year: some excellent films by Park Chan-wook, Lukas Dont, Felix van Groningen and Charlotte Vandermeerch were honored – and the great, cheerful and conceited Triangle of Sadness. But this year it was a show of great work – a futuristic treat for moviegoers.