As TIFF ’22 begins to wind-down, things are coming at a bit more manageable pace. But that doesn’t mean the talent and caliber of Films are any less as there’s still plenty to be excited about. So happy to have gotten a little bit more sleep today and look forward to actually seeing some movies back-to-back the next few days!
We spotted some pretty major talent today, including an icon!
WOMEN TALKING (written/directed by our Sarah Polley)
TRIANGLE OF SADNESS
Our Reviews are coming begin to pile-in. Click here for more including our thoughts on TRIANGLE OF SADNESS, WOMEN TALKING and more.
(Photo/video credit: Mr. Will Wong)
By Nicholas Porteous
A group of vapid rich people and Social Media influencers go on an ill-fated cruise. This is Ruben Östlund‘s second Palme d’Or winner in a row, and all the things that make his work captivating are on full display: dynamic and inventive blocking, an absolutely lavish production, laugh-out-loud moments of excess, and an ensemble of grounded yet deliciously absurd performances across the board.
Unfortunately, his limitations as a Writer are also particularly sharp here. The dominant themes of rich and poor, skilled and inept, culture assigning value to those least deserving, and absolute power corrupting you know what… they’re all rather tired, which would be easier to swallow if the Movie wasn’t an hour longer than it should be.
Structurally, there are a number of odd choices–our presumably lead characters are introduced and fleshed out for the First Act, then basically forgotten for the pivotal middle section. Arguably, the most interesting character of the Film is kept out of the narrative until near the end, and while I understand Östlund might be making a statement by hiding them, it comes at the expense of what could have been a far richer story of personal transformation. He has a habit of leaving the most potentially interesting moments of character development off-camera.
While there is a lot to be enjoyed here–and I would still consider Triangle worthy of your attention–be aware that this lengthy journey out to sea is a shallow one.
TRIANGLE OF SADNESS screens as follows at TIFF ’22:
Tues, Sep 13 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 9:30pm
Wed, Sep 14 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 5:30pm
Review by Amanda Gilmore
Fashion Model-Celebrity couple Carl (Harris Dickinson) and Yaya (Charlbi Dean) are having problems…money problems. The main issue is that they have too much of it, which causes issues when it comes to bill time. The truth is, Yaya makes more than Carl but she’ll never pay. While in this rut in their relationship, Yaya’s influencer status gets them a free trip on a yacht. It’s there they meet their fellow uber-wealthy, upper-class, white privileged passengers. However, when they hit a stormy, turbulent night these rich elite are left stranded on an island.
Writer-Director Ruben Östlund’s latest is a biting, hilarious Satire on the privileged. He does this in three parts. The first is entirely focused on Carl and Yaya. As the bill sits on their table, Yaya becomes engrossed in her phone until Carl offers to pay. This results in one of the longest fights over money on-screen. Östlund, with the help of the brilliant Dickinson and Dean, creates an engrossing argument on Feminism and currency. It’s a hilarious section in this smart Film that sets the theme of money and hierarchy. Additionally, it shows a different side to Dickinson that allows him to show off his comedic side, which he excels at.
Once we arrive in the second part, we are introduced to a range of characters. Such as an elderly couple who sells grenades and Russian fertilizer magnate Dimitriy (played by the incomparable Zlatko Buric). It’s in this section that the majority of the hysterical moments happen. The things these characters say to each other and the staff on board (which resemble those from the Reality Show Below Deck) are shocking. It’s in this section that Östlund’s themes come through.
He touches on the privilege that comes along with having wealth in comparison to those who work on the yacht. The edits show the jarring difference in the lives of the passengers and employees. Triangle of Sadness through and through is a riot, however, there is one segment that remains a standout.
It takes place between the Captain (Woody Harrelson), a drunk who spends a lot of time in his cabin, and Dimitriy. As the yacht rocks during the Captain’s dinner and passengers are projectile vomiting everywhere (yes, there are some serious, although uproarious scenes in this second part) the two exchange quotes. Captain spews Socialism quotes while Dimitriy is an advocate for Capitalism. Harrelson and Buric are outrageously funny. Could easily watch them as these characters for days on end.
The Final Act of Östlund’s unmissable Satire has the rich stranded and incapable of providing the necessities to survive. Remember, they pay people to take care of them. But lucky, or unlucky, for them there is one capable crew member who survived — Abigail (Dolly De Leon). Onboard she was the cleaning manager but on this island, she becomes the boss. It’s a perfect way to sum up all of Östlund’s themes. Having the upper-class succumb to someone they believe is below them. De Leon not only runs the island, but she steals the entire third act and runs away with it.
Triangle of Sadness is unforgettable, nailing every beat and then some. The Ensemble Cast has impeccable comedic timing. This is not to be missed.
Triangle of Sadness screens at Cannes ’22:
Sat, May 21 at 6:00 PM at GRAND THÉÂTRE LUMIÈRE
Sun, May 22 at 8:30 AM at GRAND THÉÂTRE LUMIÈRE
Sun, May 22 at 1:00 PM at SALLE AGNÈS VARDA
Sun, May 22 at 9:30 PM at LICORNE
Mon, May 23 at 11:45 PM at CINEUM IMAX
Tue, May 24 at 9:30 AM at CINEUM AURORE
Walt Disney Studios Canada x Mr. Will want to give Readers a chance to win passes to an Advance Screening of THE KING’S MAN. Screenings take place as follows:
As a collection of history’s worst tyrants and criminal masterminds gather to plot a war to wipe out millions, one man must race against time to stop them. Discover the origins of the very first independent intelligence agency in “The King’s Man.”. 20th Century Studios‘ THE KING’S MAN opens in theatres on December 22, 2021.
The Red Band Trailer below:
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