luka
Well-known member
i just watched the triangle of sadness. pretty good. i see it made some american critics really angry and defensive which makes me like it more.
Richard Brody, in a critical review for The New Yorker, described Triangle of Sadness as "a movie of targeted demagogy that pitches its facile political stances to the preconceptions of the art-house audience; far from deepening those ideas or challenging those assumptions, it flatters the like-minded viewership while swaggering with the filmmaker’s presumption of freethinking, subversive audacity." Brody described Östlund's direction as "precise but stiff" and criticised the film's emphasis on social commentary: "[Östlund's] keen observations are submerged in his efforts at social criticism and political philosophy." However, Brody commended the cast performances—particularly Dean's, of which he wrote: "If nothing else, the movie would have assured her stardom; there’s no telling how many characters and films her death foreclosed before their conception."[40]
Armond White, in a critical review for National Review, talks about the substitution of concepts in Triangle of Sadness: "Östlund extends his Euro-Marxism into a second-rate allegory about third-world exploitation: An insulting subplot features the ship's Filipino toilet manager (Dolly De Leon) turning the tables on the rich, feckless whites, yet emulating their decadence (Parasite, Part II). Östlund bungles the political, spiritual, and moral lessons of such classics about chaos as Luis Buñuel's Exterminating Angel, Antonioni's L'Avventura, and Godard's Weekend." White sums up his review calling Östlund "just a misanthrope and a fraud."[41]
Richard Brody, in a critical review for The New Yorker, described Triangle of Sadness as "a movie of targeted demagogy that pitches its facile political stances to the preconceptions of the art-house audience; far from deepening those ideas or challenging those assumptions, it flatters the like-minded viewership while swaggering with the filmmaker’s presumption of freethinking, subversive audacity." Brody described Östlund's direction as "precise but stiff" and criticised the film's emphasis on social commentary: "[Östlund's] keen observations are submerged in his efforts at social criticism and political philosophy." However, Brody commended the cast performances—particularly Dean's, of which he wrote: "If nothing else, the movie would have assured her stardom; there’s no telling how many characters and films her death foreclosed before their conception."[40]
Armond White, in a critical review for National Review, talks about the substitution of concepts in Triangle of Sadness: "Östlund extends his Euro-Marxism into a second-rate allegory about third-world exploitation: An insulting subplot features the ship's Filipino toilet manager (Dolly De Leon) turning the tables on the rich, feckless whites, yet emulating their decadence (Parasite, Part II). Östlund bungles the political, spiritual, and moral lessons of such classics about chaos as Luis Buñuel's Exterminating Angel, Antonioni's L'Avventura, and Godard's Weekend." White sums up his review calling Östlund "just a misanthrope and a fraud."[41]
