Stockholm (AFP) – With his scathing humor, the Swedish Ruben Ostlund has been able to impose his satirical style with a few films, even convincing the Cannes jury to award him a second Palme d’Or this Saturday for “Triangle of sadness”.
Five years after being crowned with “The square”, about the world of contemporary art, the director made the Croisette laugh out loud with this satire on the most privileged classes.
In the film, Ostlund openly criticizes capitalism and its excesses.
Raised by a communist mother, the Swede, who defines himself as a “socialist”, has not chosen the easy way out “describing the rich as bad” but rather has tried to “understand their behavior”.
The director rose to fame with “Force Majeure” (2014), and his analysis of a modern family, with a father escaping an avalanche, with his cell phone in hand, but leaving his children in danger.
The film won the Jury Prize in 2014 in the Un Certain Regard section of Cannes. This tragicomedy also opened the doors to the American industry.
In 2017, he made Cannes audiences laugh by winning the Palme d’Or for “The square.” For this film, she worked with the American Elisabeth Moss (“Mad Men”), the British Dominic West (“The Wire”) and the Danish Claes Bang, who starred in the story.
Ski and YouTube
Bang played Christian, the director of a contemporary art museum who is preparing an exhibition on tolerance, but who himself leaves out a bit.
“The film is interested in the way we consider and oppose individual responsibility and that of society” and examines “how we take care of each other,” he explained to Variety magazine.
For this inveterate Youtube follower, the film is made more of situations than of characters. The Swedish press described him as “a kleptomaniac”. He “steals situations from his own life, from his friends (…) and YouTube to get fictions”.
Born in 1974 in Gothenburg, where he still lives, this blue-eyed director studied directing. There he filmed a part of “The square”, as well as in Stockholm and Berlin.
He started in the cinema making ski movies, one of his passions, when he worked in the Alpine resorts in the 1990s.
“I keep incredible perseverance from those years. We were away every day from December to April. We have three times as many shooting days as when we shoot a feature film,” he recalled in an interview with the TT Spektra press agency in 2013.
His determination also comes from his childhood, when he behaved like “a dictator driven by a certain notion of justice,” he says.
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