Thompson, Anne; Lindahl, Chris (25 May 2022). "The Cannes Market Is Hot! Unless It's Not: Here's The Winners And Losers So Far". IndieWire. Archived from the original on 25 May 2022 . Retrieved 25 May 2022.

Zilko, Christian (7 January 2023). " 'TÁR' and 'Aftersun' Win Big at National Society of Film Critics Awards (Complete Winners List)". IndieWire. Archived from the original on 7 January 2023 . Retrieved 7 January 2023. In 2008, she survived a car crash that broke her wrist, four ribs and elbow and left her with a collapsed lung. Five Films Nominated for European University Film Award (EUFA)" (Press release). European Film Academy. 7 October 2022. Archived from the original on 6 October 2022 . Retrieved 7 October 2022. Long before Ruben Östlund’s dark comedy Triangle of Sadness debuted at the 2022 Cannes Film Festival — where it won the prestigious Palme d’Or — it was obvious who’d wind up as the breakout character. Filipina star Dolly De Leon barely even shows up in the film’s first two acts, each broken out with its own title card and its own distinct story. But De Leon’s character Abigail absolutely dominates the film’s third act, while still remaining an enigmatic figure right up through the film’s final moments. a b Goodfellow, Melanie (8 November 2022). " 'Close', 'Holy Spider' & 'Triangle Of Sadness' Lead European Film Awards Nominations". Deadline Hollywood. Archived from the original on 8 November 2022 . Retrieved 8 November 2022.Was there any introspection as to the hypocrisy of their position? The cinematic equivalent of a western teenager wearing a Che Guevara t-shirt to their private school. Triangle of Sadness". Cannes Film Festival. Archived from the original on 5 June 2022 . Retrieved 21 May 2022. Alysha Prasad of One Room With A View called it "Utterly unhinged in the best way possible, guaranteed to elicit enough laughter to make your stomach ache, while also leaving you with plenty to think about afterwards." [33] David Kaplan of Kaplan vs. Kaplan praised the ensemble cast as "completely compelling, even if some of the characters are unsavory." [34] Aaron Neuwirth of We Live Entertainment described it as containing "what’s likely the grossest set piece I’ve seen in a movie awarded the Palme d’Or at the Cannes Film Festival." [35] Gabi Zeitsman of Channel 24 (South Africa) commented, "if you loved White Lotus and satire aimed at the beautiful and rich, this is a definite must-watch. The fact that it won the Palme d'Or is in itself almost satirical..." [36] "Don't go in expecting art-house intellectualism," wrote Kyle Smith of the Wall Street Journal, "The movie is as loaded with fun as it is with social implications." [37] Paul Byrnes of the Sydney Morning Herald commented, "For Östlund, subtlety is overrated. Triangle of Sadness shows us why he has a point. It’s a spectacular demolition of modern life, a disruptor movie full of ideas and nuance, as violent in its way as a Pieter Bruegel painting." [38] Kevin Maher of The Times detected more nuance in the film, however, stating: "Yes, the metaphor can seem very on-the-nose: the super rich, in this economic climate especially, are obscene and repulsive! But it's a film of great subtlety (really) and benefits from multiple viewings." [39] Her headcanon about Abigail was even a secret from Östlund. De Leon says he allowed her a lot of freedom with the character, including making her a single woman with no children, but that she kept a full journal about Abigail’s life that was solely for her own development.

s satirical approach is a lot like a stand-up comedian's, riffing on a single idea until the gag surpasses the threshold of our expectations and attains some overblown, glorious absurdity.Writer, director and editor (was this mess even edited ?) Ruben Ostlund has no clue on satirical delivery, nor how to tell a story. This film needs to be an example in film school on what not to do. The ridiculously long and poorly paced 2-1/2 hour runtime was about 2 hours too long. This felt more like a last minute bad SNL sketch dragged out to eternity. The story is not predictable, in a bad way. Just when you think that something interesting might take place or that an intriguing mystery will get revealed, the plot continues to move straightforward with the most obvious decisions. There's no subtleness nor any metaphors, this movie could've been shown as historical fiction docu-drama and I would've believed it cause the actual script reads like an edgy guy who just saw a couple of videos on different economical theories and decided to become Marxist or Socialist. For me (and my fellow Swedish viewers, no doubt), it was especially fun to see revue legend Henrik Dorsin as a lonesome Swedish millionaire. He just has a perfect face and demeanor for comedy -- even the very first shot of him as a dejected, pudgy middle-aged man sitting by himself made me and my theater company laugh.