Ruben Östlund presenta Triangle of Sadness en la presentación de Film i Väst en Cannes
por Jan Lumholdt
- CANNES 2019: En la cita anual del fondo sueco, el ganador de la Palma de Oro de 2017 dio a conocer interesantes y algo complicados detalles sobre su próxima película
Este artículo está disponible en inglés.
Sweden’s Film i Väst, Scandinavia’s largest film fund, reported on its main activities at its annual Cannes presentation, held on Saturday on the Croisette. Among other recent initiatives, CEO Mikael Fellenius presented the collaboration with climate consultant Ronny Fritsche, the launch of a rebate programme for international co-productions on behalf of Region Västra Götaland, and the sponsorship of the annual Nostradamus forecasting report, produced by the Göteborg Film Festival, which will offer partners useful insights into the future of film production and marketing.
Peter Possne, head of productions, presented a selection of 29 feature films and 14 TV dramas currently in production and development, among them David Sandberg’s Kung Fury 2, Patrick Hughes’ The Hitman’s Wife’s Bodyguard, animator Linda Hambäck’s The Ape Star, and as-yet-untitled productions by Sally Potter and Tarik Saleh, who is following up his hit The Nile Hilton Incident [+lee también:
entrevista: Tarik Saleh
ficha del filme] with yet another thriller. First features by newcomers Valdimar Jóhannsson, from Iceland, and Ninja Thyberg, from Sweden, generated a major buzz.
Nevertheless, the possible pièce de résistance of the event was when director Ruben Östlund literally acted out some crucial parts of his forthcoming film Triangle of Sadness. “It takes place in the fashion world, and we meet a male and a female model who both want out of the industry,” he started out. His main couple then go on a luxury cruise, where they hope to hook up with the right, rich people.
“But the captain of the boat, who happens to be a Marxist, diabolically picks the worst weather for the captain’s dinner, a seven-course meal. The passengers get seasick and start throwing up. They also get food poisoning, so the rest of the meal comes out the other end. As the hard-working Filipino cleaning lady starts to wipe up this mess, the captain starts reading The Communist Manifesto to the suffering passengers. They then have an accident and wind up on a desert island, where the hierarchies are turned upside-down, so the Filipino cleaning lady is on top, as she is the only one who knows how to fish. And then our main male character, the model, sees his chance and offers himself as a ‘trophy husband’ to this 60-year-old, somewhat dumpy woman. It’s all about the influence of the economy on our behaviour, on so many levels. I’d love to tell you how it ends, but you will just have to wait two more years,” Östlund said as he brought his vivid pitch to a conclusion.
The casting is yet to be finalised, but Östlund revealed his method to Cineuropa: “Our mission is to cast like Real Madrid when they are putting their team together: with the best players from all over the world. And we test-read them all, regardless of stature. I mean, even if you get Ronaldo, you need to know he’s not suffering from some kind of damage or injury at the moment. And people have been happy to give us their readings. So the sky’s the limit, and thanks to the Palme d’Or for The Square [+lee también:
entrevista: Ruben Östlund
ficha del filme] in 2017, there are many people out there keen to work with us. We can phone just about anyone up at this point and ask them to have a go.”
Like The Square and Force Majeure [+lee también:
entrevista: Ruben Östlund
ficha del filme] before it, Östlund prefers the genre definition of “satire” to describe his new film. “Even if I present a core problem of some weight, I want the audience to be entertained, to be taken on one goddamn wild trip! And when they are done, they should need to really process the experience they just had, even if it takes the whole night.”
The occurrence of geometric shapes in his two most recent titles, assures Östlund, is pure coincidence. “Yes, we have a square and now a triangle, but there will not be a third film about an octagon – I can almost promise you that. Or perhaps… The Octagon of Confusion – a film that will never be finished?”
Triangle of Sadness is planned to open in 2021, tentatively in the Cannes competition. The Film i Väst co-productions at this year’s edition of Cannes are Jim Jarmusch’s The Dead Don’t Die [+lee también:
ficha del filme] and Corneliu Porumboiu’s The Whistlers [+lee también:
entrevista: Corneliu Porumboiu
ficha del filme], both in competition, plus Hlynur Pálmason’s A White, White Day [+lee también:
entrevista: Hlynur Pálmason
ficha del filme] in the Critics’ Week.
(Traducción del inglés)
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