TRIANGLE OF SADNESS – Review by Susan Granger

I was stunned that Ruben Ostlund’s tedious Triangle of Sadness not only won the top prize at the Cannes Film Festival but went on to snag three Academy Award nominations for Picture, Director and Original Screenplay. The Swedish writer-director begins this gross social satire by introducing two vapid, if photogenic models, an amiable elderly English weapons-dealing couple and a Russian oligarch, among others, aboard a doomed luxury yacht that is captained by a drunk Marxist (Woody Harrelson). Triangle of Sadness is smug and self-indulgent. But, obviously, my negative opinion is in the minority on this one.

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Ten Female Performances to Watch from NYFF 2022 – Liz Whittemore reports

I always begin my annual list with a caveat. My thoughts are based solely on the films I actually saw at the festival. I’ve heard the buzz surrounding Danielle Deadwyler’s performance in Till. It was unanimous among my fellow journalists that this was a star-making turn. I cannot wait to see it for myself. Until then, here are ten female performances that I cannot shake from the 17 films I saw.

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THE TRIANGLE OF SADNESS (TIFF 2022) – Review by Ulkar Alakbarova

The Triangle of Sadness perfectly captures the balance of power and how it can shift. It all comes down to what you know, what you can do and what you cannot. Humans are corrupt, whether rich or poor. And when the poor gets a chance to stand out, they’re abused, taken advantage of, and the actual humiliation starts. Is the story about the poor going rogue? No. But it shows how we people do not realize one thing – for a better outcome, collaboration is required. And when we don’t work together but instead try to overpower each other, the result will be the exact the same – good or bad, wealthy or poor, we all become as corrupt as everyone else.

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