In just over a decade, Reuben Ostland has established himself as one of the new masters of the ear, jumping from sidebar to sidebar in 2011. The game Debuted at Directors Fortnite, 2014 Force Major Before jumping into the competition, he was selected for An-Sarten Riggard, who won his first strike in 2017 with an industrial satire. Square. This year he is back with The triangle of sorrow, Starring Harris Dickinson, Charlie Dean and Woody Harrelson. The Swedish director cheerfully offers to say everything — even the deadline — deadlines, but this is a director whose films are less about plot than about people, and his latest topic, the fashion world, suggests plenty of food for his dark thoughts.
Deadline: How does it feel to be back in the ear as a Palme d’Or winner? Does this make you nervous about returning to the competition?
Ruben Ostland: I’m not nervous about going back, but I was very nervous about the decision. That was really nerve-racking. And now I’m just happy and relieved that we’re in the competition, and I’m looking forward to showing the picture to the audience. There’s also a feeling this time around that the restrictions from the epidemic aren’t too heavy anymore, so I’m looking forward to a festival where we’re getting a little more back into the movie weather.
Deadline: What can you tell me? The triangle of sorrow?
ÖSTLUND: Well, I can tell you what the “triangle of sorrow” is. If you have a wrinkle in the middle of your eyebrows, it is called in Swedish “sacrifice of suffering” and if you have a lot of problems in your life, you will get it. But you can fix it with Botox in 15 minutes. It’s a term that comes from cosmetic surgery – not plastic surgery, but cosmetic surgery – and I thought it was ridiculous. A dark, ridiculous comment about likes, surfaces, and beauty আমাদের our obsession with beauty, and our obsession with appearance, and our belief that our inner problems will be solved if we build a great shell around ourselves.
Deadline: It’s set in the fashion world, isn’t it?
ÖSTLUND: Yes. And in the fashion world and in the beauty industry I’m doing something that happens or at least started, because my wife Cena Gortz, whom I met in 2014, is a fashion photographer. When I met her, I wanted to hear everything about the fashion industry – there’s something scary about it at the same time that it’s interesting. And she started telling me a lot about male models. Being a male model is not really considered a high-profile profession. Male models earn, for example, one-third or less of what female models do, so it’s really a mirror of our society, where you invert the role of gender. I mean, it’s one of the few professions where men earn less than women. So, as a starting point, I became interested in the concept of beauty as a currency.
Deadline: How is it revealed?
ÖSTLUND: We start in the fashion world, and then we ride a luxury yacht, and then we end up on a secluded island — basically, the film takes place in these three different environments.
Deadline: This is a huge cast. Is there a main character, or is it an ensemble?
ÖSTLUND: I would say that there are two main characters. This is Harris Dickinson, a British actor who plays a male model. And then there’s Charlie Dean, a South African actress who plays a female model. And this couple, we follow them through the movies. But it’s also a cohesive film in many ways, because on Yacht and the Island, we have eight actors who are making intercourse and we have a pretty big part for all of them. We have actors from the Philippines, Germany, France, Sweden, Denmark, the United States and England, so it’s multinational.
Deadline: Square faces criticism for 150 minutes. Is this going to be as long as one?
ÖSTLUND: It’s going to be perfect [laughs]. Not too long, not too short, hopefully. But then it’s a story that of course takes a little while to tell, because you have to set up these three different environments. Hopefully it will sound like a fresco – like a rich adult rollercoaster, I mean, because it’s going to be fun and interesting. But it is for adults.
Deadline: What does this mean for adult content?
ÖSTLUND: Not really an obvious thing. Maybe there are some things. I won’t talk about them now, but there are some things you don’t want your kids to see.
Timeline: Your movie was one of the first movies made under the COVID protocol, wasn’t it?
ÖSTLUND: Yes. We started in January 2020. And then we started hearing about this virus in China and then in Italy and immediately an alarm bell rang in the back of my head. So we started shooting. We stopped once in March because of the lockdown, and then we waited for the fall. In fact, we shot a few in June: we took Woody Harrelson to Sweden. We were originally able to get a window a few days before the lockdown started. And then, when we were in Greece and shooting the last part of the film, we were able to finish the film just one day before the lockdown again. So, while we were shooting this film, we were completely plagued by epidemics.
Deadline: Do you think that when you were shooting in Greece, you were somehow removed from the people?
ÖSTLUND: Yes, it is true. But there were also restrictions in that country আপনাকে for example, you were not allowed on board. So, that was the thing we had to deal with. I think we tested 1,160 covids, and fortunately all of them were negative, because if we had only one positive test – with a lead actor or one of the main crew – I don’t know if we would. Able to finish the film. Especially when we were shooting on the yacht because it was so expensive to rent. There was a lot of pressure. But also, it was a good experience for me that everyone was working very well together, in the sense of the film, because all the differences were put aside – we had big problems to deal with, not personal, small dramas. So, despite everything, I had a really nice shoot.
Deadline: The world has changed a lot in the last five or six years. Will it affect the way you work?
ÖSTLUND: Of course. I mean, I think Don’t look up A great movie. Even if it is tried [force] The irony is, it’s still true. This is happening! Obviously, I see small situations. I am more interested in social interactions between people when we have a kind of awkwardness and when we deal with the fear of losing face and so on.
But I think there are some parts of the film that have suddenly become very contemporary. For example, on the yacht, we have Woody Harrelson as the Marxist captain, and he takes revenge on the boat’s guests, all these rich passengers, who always eat the captain’s dinner when the weather is bad. So, they’re sitting there eating seven-course meals, and it’s going to turn into a melee. But there is a man who is not sick at sea, and he is a Russian oligarch. So, we American communists and Russian capitalists, sitting together drinking and talking about politics.
I was raised in the 80’s and 90’s, with the Eastern and Western blocs, constantly pushing their ideologies towards each other, then all of a sudden, this thing happened in Ukraine and we got back to this East / West-bloc mentality. In many ways, it’s so old, but now it’s happening in the world again.
Deadline: Your 2014 film Force Major Was rebuilt in Hollywood Descent With Will Ferrell. Were you involved?
ÖSTLUND: No, I let them take it. I thought they were doing their own version of the movie and I’m glad they wanted to do a remake. I did not have any problem. You just have to be more discriminating with the help you render toward other people. There were some great scenes in the movie, actually. I was a little jealous about it.
Deadline: How do you look back Force Major? It was your breakthrough, wasn’t it?
ÖSTLUND: When I think Force Major, It really was, for me, the first movie when I started looking at male behavior চিত্র the image of a man and a man in our time. And then Square Also being a human being is really investigating. What are we fighting for and how does the outside world look at us? And I would say that, in many ways, The triangle of sorrow Now the third film is really investigating what it means to be a human being. And I got a lot of inspiration from my own life.
Deadline: Has the film changed your mind about the fashion industry?
ÖSTLUND: No. I mean, people in fashion are just beautiful, ordinary people are no different from any other industry, I would say. As soon as you recognize them, you will not feel threatened by their obsession with clothes. What I don’t like about the fashion industry is that it is trying to sell our clothes and products because of our insecurity.
Just to give an example — and it is also in the film — if you look at very posh brands, you will see that the models never really smile and they do not look at the consumers. As such, they are at the top of the hierarchy, and those garments are really sold so that you can disguise yourself within the social group that you think you belong to. So, if you pay a lot of money for your outfit, you can stay at the top of the classification and look down on other people. But the cheaper the brand, the more the models are smiling and welcoming, such as, “Maybe we’re at the bottom of the triangle here, but we’ll have a great time together.” They know a lot about sociology, I would say, in the fashion industry.
Deadline: Have you chosen your outfit for the red carpet yet?
ÖSTLUND: Yes. You know what As research, I’ve actually done a little bit of a collection for one of my friends. I have a brand, I have a fashion brand. I did my own tuxedo, and after the ear movie it was called Lumiere. So, I must wear that one.