This year, the Cannes Film Festival kicked off with a restoration of Jean Eustache’s 1973 ménage à trois scandal “The Mother and the Whore” and concluded with a screening of controversial Palme d’Or winner “Triangle of Sadness,” creating an odd kind of symmetry for the event’s 75th anniversary edition, between which I somehow managed to screen all 21 films in competition.
Made half a century apart, Eustache and Östlund’s rhyming triangles were hardly the only parallels to be found at Cannes — though anyone who’s ever binge-watched movies at a major festival knows the feeling of such connections, often just a fluke of the order in which you see movies whose images and ideas inevitably resonate with one another.Consider this could-be coincidence: Roughly midway through Östlund’s influencer-skewering satire (a fitting follow-up to 2018 Palme d’Or winner “The Square”), a black-tie dinner aboard a posh ocean cruise goes sideways,
Read full article