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. 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.
Masked in screening rooms full of Covid-defiant strangers, I somehow managed to screen all 21 films in competition this year, and such similarities were myriad, while the masterpieces were scarce.
Consider this could-be coincidence: Roughly midway through Östlund’s diamond-sharp, influencer-skewering...
Masked in screening rooms full of Covid-defiant strangers, I somehow managed to screen all 21 films in competition this year, and such similarities were myriad, while the masterpieces were scarce.
Consider this could-be coincidence: Roughly midway through Östlund’s diamond-sharp, influencer-skewering...
- 5/30/2022
- by Peter Debruge
- Variety Film + TV
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