Triangle of Sadness stands as the conclusion of what Ruben Östlund has recently deemed a trilogy about “being male in our times.” (It will not be a quartet.) As with the middle entry of said triptych (his 2017 Palme d’Or-winner The Square), Triangle is a movie of set pieces blanketed by a shapeshifting social critique obsessed with the myriad ways in which civilization and morality distort human life.
Its initial target is the modeling industry, a chapter dominated by cheap shots at the scene’s stereotypical superficiality and cattiness, especially its particular gender […]The post Cannes 2022: Triangle of Sadness, Magdala, The Natural History of Destruction first appeared on Filmmaker Magazine.
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