Cannes 2022: ‘Triangle of Sadness’ Wins The Palme d’Or [Full Winners List]

Winner: Neon. The indie distributor has a special touch with Palme d’Or winners. Following 2019’s “Parasite” and 2021’s “Titane,” Neon landed North American rights to this year’s big Cannes champ: Ruben Östlund’s comedy “Triangle of Sadness,” which stars Woody Harrelson as a rabid Marxist who is the captain of a cruise for the super-rich.

As a procedural drama centrally interested in the radicalization of a young Muslim boy in Belgium, Adil & Bilall’s “Rebel” pulsates with terrible inevitability. Falling behind at school, with an adored older brother already having made the trip to Syria and a trafficker whispering in his ear, it’s less a question of if Nassim (Amir El Arbi, another tremendous kid actor for Cannes ’22 to tick off) is going to find himself on the Jihadist frontline, but when.

The 75th Cannes Film Festival is coming to a close on Saturday afternoon, and after much speculation as to what would take home the top prize, it was a familiar winner striking gold again. For the second time in five years, director Ruben Östlund won the coveted Palme d’Or for his English-language debut film, “Triangle of Sadness.” Östlund first won the prize back in 2017 for “The Square” and beat out eighteen other films to win this year’s top prize.

The closing ceremony for the 2022 Cannes Film Festival provided a number of surprises. The biggest being “Triangle of Sadness” taking the Palme d’Or.

Though shot and set prior to the Russian invasion, by dint of being a Ukrainian picture detailing the aftermath of a woman soldier’s assault in the Donbas, “Butterfly Vision” lays claim to uniquely wretched timeliness at this year’s Cannes. What is an impressive if formally flawed first film from Maksym Nakonechnyi earns some emotional weight vis-a-vis present events: the Ukrainian flags of blue and white, flown with unsparing pride across Nakonechnyi’s images, bear the immediate frisson of beleaguered resistance, and that women Stateside presently face unprecedented threats to their bodily autonomy only compounds the miserable resonance.

NEON earned bragging rights tonight with the third consecutive Palme d’Or Cannes winner in a row, that being Ruben Östlund’s satirical comedy Triangle of Sadness, which was a huge crowd pleaser during the fest.

The 75th Cannes Film Festival is coming to a close. The two-week festival saw some of the biggest stars and most anticipated films of the year come together to celebrate cinema.

Refresh for latest…: The 75th Cannes Film Festival draws to a close tonight as the main awards, including the Palme d’Or, are soon to be handed out in the Palais. Scroll down for the list of winners which is being updated as prizes are announced.

s’il vous plaît!Over at the French film festival on the Cote d’Azur, which wraps up this weekend, it’s long been popular to give comical and undeserved standing ovations to just about anything that could be feasibly called a film. Next year the Claudes and Claudettes will be hopping to their feet for a dancing toad on TikTok (more deserving, honestly, than Lars von Trier.)The trade publications time these performative participation prizes like they’re Olympic runners.

Dame Helen Mirren and fellow Hollywood veteran Andie MacDowell have spent an evening dancing together in adorable scenes on the Cannes red carpet at the premiere of Mother And Son.The pair were beaming, as Oscar-winning actress Dame Helen, 76, wore a long-sleeved silver beaded dress with her hair swept back in a half-up look, while Andie, 64, looked elegant in a full-length striped brown gown.They were spotted laughing as they twirled and danced with each other holding hands and spinning around ahead of the screening.Later in the evening, Dame Helen ditched her dancing shoes as she attended L’Oreal’s Lights on Women.Andie and Dame Helen had worked together in 2001 film On The Edge, which also starred Paul Rudd and John Goodman.Stars of Mother And Son include Stephane Bak, Annabelle Lengronne and Ahmed Sylla, who were also seen posing on the red carpet.The film follows Rose, played by Annabelle, as she moves from the Ivory Coast to Paris with her two young sons, played by Stephane and Annabelle.Spanning 20 years from the family’s arrival in France to the present day, the film chronicles their highs and lows.Chelsea suffer blow as summer transfer target agrees to join TottenhamJohnny Depp trial: Jury deliberation begins in Amber Heard defamation trialRoman Kemp 'terrified' of being famous much longer and plans to retire earlyElsewhere today at the Cannes Film Festival, Eva Longoria couldn’t contain her excitement as she stunned in an eye-catching dress at the 2022 AmfAR Gala.The 47-year-old star was beaming as she arrived with supermodel Natasha Poly at the charity event on Thursday night.Eva stunned in a daring cut-out gown for the evening during Cannes Film Festival, with a leg-baring split and a cut-out torso, and she

Michelle Williams is glowing in Cannes! On Friday, the 41-year-old actress stepped out to attend the premiere of her latest film, , at the 2022 Cannes Film Festival, and proudly displayed her baby bump on the red carpet.Williams, who's currently in the midst of her third pregnancy, stunned in an all Chanel look, wearing a white and midnight blue lace long dress with embroidered top from the fashion house's Haute Couture Spring-Summer 2022 collection.Two hundred and seventy hours were spent embroidering 15,000 elements, including a floral motif embroidery composed of strass, glass beads and sequins, on the gown.She paired the dress with white shoes, along with a white gold and diamond ring and coordinating necklace, all which were designed by Chanel.Williams' Cannes appearance came the same month that she confirmed she and her husband, Tony-winning director Thomas Kail, are expecting their second child together.The couple also shares a son, Hart, whom they welcomed in 2020, the same year they tied the knot. Williams is also mom to Matilda, 16, the daughter she shares with the late Heath Ledger.«It’s totally joyous,» Williams told  of her third pregnancy.

75th annual Cannes Film Festival kicked off this year on May 17th to celebrate and preview highly-anticipated, soon-to-be-released films, along with honoring renowned actors and actresses. And of course, the invite-only event brings the most famous celebrities and actors from around the world to Cannes, France for the special occasion.

Filmmakers seeking to denounce the crushing effects of capitalism often seem to rely on the excuse that if their films aren’t subtle, it’s because capitalism itself isn’t either. But such systems of exploitation probably wouldn’t still be around if, on top of having (very visible, obvious, violent) power on their side, the powers that be didn’t perniciously plant their hooks into the minds and hearts of their victims, making them do most of the work for them.

This year’s dark horse in competition at Cannes is easily “Leila’s Brothers,” Iranian writer-director Saeed Roustaee’s third feature and worthy follow-up to his intense 2019 cop thriller “Just 6.5.” With hints of “The Godfather” and Arthur Miller evident throughout, the drama is a sprawling tale exploring dysfunctional family dynamics, economic hardships, and generational wealth. READ MORE: Cannes Film Festival 2022 Preview: 25 Must-See Films To Watch “Leila’s Brothers” follows the lives of a Tehran family as they struggle to stay afloat amidst financial hardships and complicated familial relationships.

The exquisite and sublime journeys of Oregon-based filmmaker Kelly Reichardt are arguably, more or less, incidental or oblique political statements about survival in America, often focusing on two or more friends, usually outsiders, and their struggle to endure. “Wendy And Lucy,” about a destitute woman and her soulmate canine companion, was overt about human inequity and hardship; “Meek’s Cutoff” depicted the unbearable burden of living off a hostile, unforgiving land; and “First Cow” presented the warm, but sad futility of two friends trying to sustain themselves under the grueling rigors of nascent American capitalism.

Afternoon Insiders, Max Goldbart here. Cannes is wrapping and we have the very latest from the Croisette, plus a hell of a lot more in this week’s deep dive. Read on.

Eva Longoria couldn’t contain her excitement as she stunned in an eye-catching dress at the 2022 AmfAR Gala.The 47-year-old star was beaming as she arrived with supermodel Natasha Poly at the charity event on Thursday night.Eva stunned in a daring cut-out gown for the evening during Cannes Film Festival, with a leg-baring split and a cut-out torso, and she completed the look with oval drop diamond earrings.The night featured thrilling live performances at the Hotel du Cap-Eden-Roc, with Christina Aguilera, Ricky Martin and Charli XCX taking to the stage.Later on, Eva looked delighted and living her absolute best life as she danced and cheered.It was a star-studded affair, with Ashley Graham arriving in a mermaid style gown with elegant earrings, while Aguilera posed in a bedazzled black dress gold detail on the sleeves.Fellow performer Charli XCX took to the stage in a revealing silver ensemble, made up of a silver bra, criss cross midsection and a very short fringed skirt.Livin’ La Vida Loca hitmaker Ricky Martin turned up the heat with a medley of his hits, stripping off a handsome black suit to show off his guns in a sleeveless shirt.Supermodel Naomi Campbell looked as stunning as ever in a striking oversized penguin tuxedo before taking it off to reveal a show stopping black dress underneath.The Crown actress Claire Foy stepped out in a plunging black gown with a matching flowing cape, and the look was rounded off with black heels, emerald earrings and a diamond bracelet.Meanwhile, Cara Delevingne put on a racy display in a glamorous plunging dress which exposed her torso and showed off her legs in platform heels.Charity amfAR leads the way around the world when it comes to supporting AIDS research, HIV prevention,

In Hirokazu Kore-eda’s Palme d’Or winner “Shoplifters,” a group of small-time thieves forms their own makeshift family, living every day not only through pure survival instinct but a genuine love for each other. For his first film set in Korea, the Japanese filmmaker reflects on similar themes in “Broker,” a road trip odyssey reflecting on the family we choose and the family we tearfully let go of.

Unlike most films and series set in Naples, “Nostalgia” really does show us the city like we’ve never seen it before: from the melancholy perspective of someone who left forty years ago. Italian director Mario Martone makes the astute and powerful decision not to make this immediately obvious, opening the film with a stunning sequence showing a man (Pierfrancesco Favino) silently arrive in and explore the city at night.

Directed by Louis Garrel, son of revered arthouse director Philippe, “The Innocent” is a quintessentially French comedy whose principle aim is to be a fun time. Though this may seem a relatively modest ambition, we all know it isn’t easy to do well, and Garrel certainly does not make things any simpler for himself as the film repeatedly leaves the realm of the bon mot to veer on the farcical.

“The Stars at Noon” finds the French filmmaker Claire Denis shooting in Panama doubling for Nicaragua; directing a cast of Yanks, Brits, and assorted Central Americans; and working from a script switching between Spanish and English. Internationally coproduced Towers of Babel such as this aren’t at all uncommon at the Cannes Film Festival, but the errors in translation all over this disappointing foreign-relations drama run deeper than simple differences of ethnicity or language.