Triangle of Sadness

Triangle of Sadness Star Dolly de Leon on Finally Letting “Whatever I Have in My Body or in My Heart” Out

Dolly de Leon is a Filipina veteran actor of film and TV who is now, due to her outstanding performance in Triangle of Sadness, being spoken about with words like “newcomer” and “breakthrough.” That might have something to do with the “I’m the captain now” nature of the role she plays in the Palme d’Or winning film. It’s like the character and the actor are both saying “I have arrived.” In this episode, she describes the dark place she was in right before auditioning for the part, how director Ruben Ostlund’s collaborative approach sparked her dynamic creativity, why watching the […]
by Peter Rinaldi on Oct 11, 2022
“I Had No Fear of Making it Too Much”: Ruben Östlund on His Cannes Palme d’Or-Winning Triangle of Sadness

Critics at Cannes were divided over Triangle of Sadness, some happily going along with its soak-the-rich ride on a yacht, others unmoved by a comic setpiece with wealthy passengers throwing up their oysters. The Competition jury, however, was crystal clear on the matter: director Ruben Östlund joined a select group of two-time Palme d’Or winners, adding this laurel to his previous one for The Square. As he did at the 2017 Cannes closing ceremony, after receiving his award, Östlund lead the audience in a primal scream. This time for the 48-year-old Swede it must felt like a relief as much […]
by Nicolas Rapold on May 31, 2022
Cannes 2022: Triangle of Sadness, Magdala, The Natural History of Destruction

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 (the first of three, Östlund’s new favorite number) dominated by cheap shots at the scene’s stereotypical superficiality and cattiness, especially its particular gender […]
by Blake Williams on May 24, 2022

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