TRIANGLE OF SADNESS

by Ruben Östlund
 From each according to their ability, to each according to their needs.”

Karl Marx

Alicia Eriksson and Sunnyi Melles

Cast Production

Harris Dickinson, Charlbi Dean, Woody Harrelson, Vicki Berlin, Imperative Entertainment presents
Henrik Dorsin, Zlatko Burić, Jean-Christophe Folly, Iris Berben, In association with Film i Väst, BBC Film, 30 West
Dolly De Leon, Sunnyi Melles, Amanda Walker, Oliver Ford A Plattform Produktion production
Davies, Arvin Kananian, Carolina Gynning, Ralph Schicha In co-production with Essential Films, Coproduction Office,
Sveriges Television, ZDF/Arte, Arte France Cinéma, TRT Sinema
With the support of Svenska Filminstitutet, Eurimages -
Council of Europe, Medienboard Berlin-Brandenburg, The
Crew Danish Film Institute, MOIN - Film Fund Hamburg Schleswig-

TRIANGLE OF SADNESS
Holstein and BFI
Director & scriptwriter : Ruben Östlund With the participation of Nordisk Film & TV Fond, Arte
DOP : Fredrik Wenzel France, DR, Canal+ and Cine+
Production Design : Josefin Åsberg In association with Heretic, Bord Cadre films, Sovereign
Costume Design : Sofie Krunegård Films, PIANO
Make Up & Hair : Stefanie Gredig by Ruben Östlund
Sound Engineer : Jonas Rudels, Jacob Ilgner Sweden / Germany / France / Denmark, 2022, 142 min, colour
Sound Design & Re-recording Mix : Andreas Franck, Bent Holm
Editing : Ruben Östlund, Mikel Cee Karlsson Conversations with director and actors conducted by Amy
Additional Editing : Jacob Schulesinger, Benjamin Mirguet Raphael, April 2022
Casting Director : Pauline Hansson Backstage photography : Tobias Henriksson
 SYNOPSIS

An uninhibited satire where roles and class are Models Carl and Yaya are navigating the world of fashion
while exploring the boundaries of their relationship. The
inverted and the tawdry economic value of beauty couple are invited for a luxury cruise with a rogues’ gallery
is unveiled. of super-rich passengers, a Russian oligarch, British
arms dealers and an idiosyncratic, alcoholic, Marx-
quoting captain. At first, all appears Instagrammable.
But a storm is brewing, and heavy seasickness hits the
passengers during the seven-course captain’s dinner.

The cruise ends catastrophically. Carl and Yaya find

themselves marooned on a desert island with a group of
billionaires and one of the ship’s cleaners. Hierarchy is
suddenly flipped upside down, as the housekeeper is the
only one who knows how to fish.
Alfons Miari, Charlie Westerberg, Victor Köhler, Harris Dickinson,
Chidieg Wu Chidi and Hamlet Talje Willoughby
 A CONVERSATION WITH RUBEN ÖSTLUND

Let’s start with the title: what does "triangle of sadness" FORCE MAJEURE was set in a ski resort and THE SQUARE
refer to? in the contemporary art world. Why did you decide to set
TRIANGLE OF SADNESS in the world of fashion? 

It’s a term used in the beauty industry. A friend sat next
to a plastic surgeon at a party and, after a quick look at I did some research into the fashion world in 2018, when I
her face, he said, “Oh, you have a quite deep triangle of collaborated with my friend Per Andersson and developed
sadness… but I can fix that with Botox in 15 minutes”. a small line of clothing for his Swedish menswear label
He was referring to a wrinkle between her eyebrows. Velour. I also gained a detailed insider’s take on the industry
In Swedish it’s called ‘trouble wrinkle’ and it suggests through my partner, Sina, who is a fashion photographer.
you’ve had a lot of struggles in your life. I thought it said When we met, she told me a lot about the marketing
something about our era’s obsession with looks and that strategies for different fashion brands and also about
inner wellbeing is, in some respects, secondary. working conditions for models. For example, a male model
generally earns only a third of what a female model does.

Actress Mia Benson and actors Woody Harrelson and Henrik Dorsin with Ruben Östlund,
first assistant director Rikard Waxin and stand by props Emil Larsson on the set
 I thought it would be interesting to look at these differences that looks play such a key role in society is something of
through the main characters, a male and a female model a universal inequality, but on the other hand you can be
called Carl and Yaya. born beautiful wherever you come from and that beauty
can be used to climb the socioeconomic ladder in a class-
When I started to do research for the film, numerous male based society.
models told me that they often have to manoeuvre past
powerful homosexual men in the industry who want to A running joke for the female models is that when their
sleep with them, sometimes with the promise of a more modelling career is over, they always can marry rich men
successful career. In some respects, being a male model and become trophy wives - something that is not really
mirrors what women have to deal with in a patriarchal possible for the male models.
society.
Ergo once again using the sociological gaze as a way into
So you are interested in how beauty has economical value, an idea?
whether it’s in the fashion world or in the ‘normal’ world?
As with all my films, my starting point is to look at human
Yes! That was the initial idea. Our looks are one of the behaviour. Many scenes in TRIANGLE OF SADNESS have a
fundamental things we have to deal with as human beings. connection to a sociological study or an anecdote that I think
The way we look affects every social encounter. The fact highlights something from a behaviouristic point of view.

Charlbi Dean
There is one study in particular that I thought was a fancy evening party; we really don’t want to be over- or
extremely interesting: scientists observing zebras in the underdressed. If we get it wrong we feel exposed. From
African savanna were trying to figure out why their fur is an economical perspective it really makes sense that
black and white when they live in the savanna. Wouldn’t it fashion brands create new collections all the time. Then
be better if their fur was as yellow as the sandy savanna? we have to change our clothes more often and consume
Studying individual zebras proved almost impossible as more.
they disappeared into the herd, so a red dot was sprayed
onto an individual zebra, making it easier to follow. It’s no accident that I called the fashion line I created
However, the red dot made it stand out and it was almost for Velour ‘Discreet Bourgeoisie’. One of the pieces was
immediately taken by lions. The scientists quickly realised the “Lumière Tuxedo”, which I named in homage to the
that the black and white pattern is not about hiding in the cinema in Cannes where I was awarded the Palme d’Or
environment, but rather about hiding in the herd. for THE SQUARE in 2017. You can wear the tuxedo as a
kind of camouflage amongst the educated middle-class.
The scientists drew parallels to us humans and pointed In the Lumière tuxedo, you can hide in the Cannes herd
out something fascinating about the fashion industry. We very efficiently!
use our clothes to try and hide in the social group to which
we are connected. Our clothes are our camouflage. Just
think about the concerns we have when we are going to

Arvin Kananian and Woody Harrelson

 You also address issues of gender roles and behavioural What did you want to show by putting Carl and Yaya on a
expectations, primarily with Carl and Yaya when they argue super yacht?
about who should pay for dinner at the start of the film.
I knew that I wanted the last part of the film to take place
The restaurant scene is inspired by my own experience with on a deserted island so the yacht was a way of getting
Sina. Near the start of our relationship, I wanted to impress there and bringing some interesting characters along -
her and invited her to Cannes. I paid the bill for dinner the the model couple, some billionaires and a cleaning lady.
first, second, and third night and then I thought, “Fuck, I On the island, when it turns out that the cleaning lady
have to take the bull by the horns and have a discussion knows how to fish and make a fire, the old hierarchy is
about this. I like her too much to step into the role of man turned upside down.
and woman, where the man always pays the bill.” What you
see in the film is what happened between us: the argument I understand your mother was a communist? What kind of
took place in the Martinez lift; her stuffing the €50 bill in my values did she instil in you in your formative years?
shirt and me freaking out and yelling; me sitting in a room
alone, thinking, “Now I’ve ruined this relationship” and then She is still a communist. She was a primary school teacher
the sincere discussion we had when she finally returned. We and a painter, as such, was a very encouraging mother.
were finally ready to expose ourselves, to make ourselves Her method was basically to be supportive and say, “Wow,
vulnerable and grow closer as a result. that’s great!” It didn’t matter what I drew, it was fantastic.

Charlbi Dean, Dolly De Leon and Vicki Berlin

Carolina Gynning, Zlatko Burić and Sunnyi Melles
I think it helped me to trust myself when I make artistic the same evening as a storm approaches. The passengers What are your feelings about the ultra-rich? everyone – they just happen to have made their money
decisions. I grew up on a small island called Styrsö on the get seasick and the captain becomes so drunk that he on landmines and hand grenades. It’s probably a more
west coast of Sweden, and not many on the island had the starts to read from "The Communist Manifesto" over the I am interested in how we react when we are spoilt. For accurate description of what the world looks like.
same left-wing politics as my parents. Mum had books speaker system while the guest are puking. The captain example, when I fly business class, I behave differently
by both Marx and Lenin and when friends came round, had to be an idealist, an alcoholic and a Marxist for that to when I fly economy. I sit there and read more slowly Your films are very much rooted in European cinema, but
I’d turn the Lenin books around so that the spines were to be possible. and drink more slowly as I watch passengers heading for TRIANGLE OF SADNESS is your first English-language film.
hidden. I understood that they were controversial in the economy class. It is almost impossible to not be affected Did you find the process challenging?
eyes of others. The scenes in which Dimitriy’s wife and others vomit by privilege.
copiously during high seas is, I presume, a way of avenging Yes, because there are nuances that I don’t know about
You decided to make the captain of the ship in TRIANGLE them for their obscene wealth? Are you saying it’s human nature for the super-rich to in the English language that I know in Swedish. Having
OF SADNESS a Marxist… behave in a privileged, spoilt manner? said that, my scenarios and themes are simple, and they
Yes, but I also wanted it to be the turning point; the have a universality, so it is easy for the actors to relate
I would say he’s an idealist, an alcoholic, and a Marxist. audience should feel that they have suffered enough and I believe that rich people are nice. Successful people are to them. I always work in the same way: during casting
want them to be saved. often very socially skilled otherwise they wouldn’t be and rehearsals, I improvise the scenes with the actors;
In that order? so successful. There’s an ongoing myth that successful and I later use some of that material in the script when
and rich people are horrible, but it’s reductive. I wanted it is better than the original dialogue. If I am working with
In whatever order you want! I had an idea that the captain the sweet old English couple to be the most sympathetic English-speaking actors, they can fill in any gaps I may have
should host the captain’s dinner, a seven-course meal, on characters in the film. They are nice and respectful to and make the language richer, more nuanced and so on.
But I am ambivalent about making films in English since and very often issues solved themselves. Apart from the
I’m critical about the dominance of Anglo-Saxon culture. storm, we were very fortunate with the weather.
It’s absurd what kind of influence it has over Sweden and
Scandinavia. We shot the exteriors on Christina O, the old Onassis yacht,
which turned out to add quite a fun meta layer when we
Directors often talk about having ‘good’ or ‘bad’ luck blew her up. That yacht is such a strong symbol of the elite
when shooting – do you feel that you were blessed with of the 60s and 70s, and myriad famous, powerful men like
TRIANGLE OF SADNESS? Churchill have spent a lot of time on her. So we had nine
days on the yacht, which was very expensive, and Covid
It was interesting. Just before we started to shoot in was getting closer and closer and another lockdown was
Greece, conflict was building between Turkey and Greece looming. In fact, we just managed to finish the shooting
and we started to get nervous about that. Then, on the on the day before we went into another lockdown. Had the
first day of the shoot, a storm was coming in and we were lockdown come a few days earlier, I don’t know how we
supposed to do a long tracking shot on a beach. At that could have finished the film.
point we decided, “Let’s go with the weather. If that’s
the weather, then that’s how the scene is going to play
out. Let’s use what we have.” And I found that a happy-
go-lucky kind of attitude made us much more relaxed,

Charlbi Dean
 This is a rhetorical question really, but can films – and, in Finally, do you see FORCE MAJEURE, THE SQUARE and
fact, culture in general – change society? TRIANGLE OF SADNESS as a loosely-connected trilogy
exploring masculinity in modern times?
Of course. You’d have to be a little stupid to think otherwise.
My mentor, the Swedish film producer Kalle Boman, was Yes, I started to think about this when I was writing
asked by one of my fellow students at film school if films TRIANGLE OF SADNESS. All the men in these films are
can change society. He answered: “All films change trying to deal with who they are supposed to be and what
society”. And of course that in itself can be problematic. is expected of them. They are then put in a trap in order
to see how they behave. For me, these three films have
In Sweden we have had a lot of young men killed in really been a way of setting up a dilemma for myself, of
so-called gang shootings and in the cultural pages there cornering myself. What would I do if I was dealing with
is an ongoing debate about the extent of the influence this? As soon as the answer appears to be easy, then it’s
of gangster rap on our behaviour. To answer yes to that not so interesting. But if it is hard, then I am interested.
question is not the same as being pro-censorship. We
believe in freedom of speech, but we should also be
aware of the consequences that this cultural expression
might create.

Harris Dickinson
Henrik Dorsin, Zlatko Burić and Jean-Christophe Folly
Facts and figures

Number of actors considered for the lead, Carl : 120

Average takes per shot : 23
Hours of rushes : 171
Editing time : 22 months
Shooting Days : 73 over 3 shooting periods (19.02.2020 –
26.03.2020 in Sweden / 27.06.2020 – 03.07.2020 in Sweden /
18.09.2020 – 13.11.2020 in Greece)
Number of Covid Tests done during production : 1.061 /
All were negative

Zlatko Burić and Carolina Gynning

 A CONVERSATION WITH HARRIS DICKINSON

Were you a fan of Ruben Östlund’s previous films? What are your thoughts on the economy of beauty as the
key theory underpinning the film?
I’d only seen FORCE MAJEURE. I then made the mistake of
watching all of his films before the audition for TRIANGLE It’s about the power you hold in a world where beauty
OF SADNESS and it made me want the job even more. is valuable. Initially Carl was a model who was losing
his hair, but Ruben leant away from that idea when we
Did you read a script ahead of the audition? started filming. The dynamic between Carl and Yaya is
still stilted because she’s a beautiful, slightly older model
No, but Ruben told me the story of the film and then, at the who is on the rise while he’s on the way down. When they
audition, he asked me to improvise the scene in which Carl end up stranded on the island, he is able to use his beauty
and Yaya have dinner and argue about the bill. Ruben played as economy.
Yaya wonderfully, I have to say.

Harris Dickinson
When Carl gets together with Abigail, it seems they have model per se. What kind of research did you do into that and capitalism respectively – was great fun. I’ve been I’ll take that! I’ll very happily put that on my CV. The goal
some kind of connection beyond the transactional. world? thinking about it a lot since. Sadly I didn’t have the is always to be free of ego in your performances, but it
opportunity to meet Woody Harrelson, but I’m making it can be tough. I have, in the past, been ridiculed for daring
It’s interesting; I saw Carl as this young guy searching I’ve been involved in that world in a small capacity, I have my mission to meet him at some point. to make a fool of myself, but part of being a performer is
for meaning in a relationship that was otherwise a few friends who model and I spoke to some fashion being willing to open yourself up to that kind of reaction.
meaningless. Even though he really likes Yaya, it got to photographers. There are many different tiers in the Where are you running to or from in the final scene of the Certainly it’s the way Ruben likes to work – he’s very
the point where Abigail was this beacon of strength and world of fashion, so it was more about trying to figure film? interested in who we are as people when it really comes
modernity. Carl isn’t happy with the traditional gender out where Carl had been positioned at the height of his down to it and we’re put in awkward situations. So I didn’t
roles that define his relationship with Yaya and then he success and where he was positioned at the start of the I always imagined that I was running towards Abigail and really have a choice on this film; I had to expose myself.
meets this powerful provider in Abigail and he finds that film. According to his back story, he used to be a mechanic Yaya, having sensed that something is about to go very You do go home feeling a little bit weird sometimes.
really attractive. I wanted the relationship between Carl and he was scouted. It was about trying to ground the wrong. But there’s always a chance that Carl is being
and Abigail to be more nuanced than, ‘Oh, he’s sleeping story in that context. selfish and running away from everything. What did you learn from Ruben Östlund as a director?
with her to get extra pretzels’ – if only because he wouldn’t
humiliate his girlfriend for extra pretzels alone. And Is there a particular scene from the film that has stayed Ruben Östlund talks generally about the way you give He persists in searching for the truth and for a genuine
then, in a weak moment, Carl’s relationship with Abigail with you? a part of yourself away in TRIANGLE OF SADNESS and reaction and I think that made me hyper aware of when I
spiralled into something more meaningful. specifically about it costing you to play the roles you take wasn’t listening or wasn’t present in the moment, which
I loved the scene with the captain and Dimitriy. To see two on because you dare to make a fool of yourself. Does this was invaluable.
You have modelled for magazines, but you haven’t been a drunk men rambling on about their politics – communist resonate with you?
 A CONVERSATION WITH CHARLBI DEAN

Were you a fan of Ruben Östlund’s previous films? What was your initial response to the script for TRIANGLE
OF SADNESS?
I’d only seen one of Ruben’s films before auditioning
for him – I randomly picked THE SQUARE and saw it Script? What script? The mysterious Rubens gave us no
at the Angelika in New York. I usually mix popcorn and such thing! He told me a little about the premise, but
chocolate as a movie treat, but I didn’t touch it because I things changed and grew until the very end of the shoot.
didn’t want to miss out on such a unique, intriguing and We never even knew how it would end. Ruben clearly
brilliant film. By the end, I was so buzzing I felt like I could runs the show, but he is also incredibly adaptable and will
run a marathon. change things if he thinks they could be better or more
interesting. When I first spoke to him about the film, I had
a feeling of sheer terror – but at the same time, it’s the
kind of project you can’t wait to embark on.

Dolly De Leon and Charlbi Dean

What are your thoughts on the economy of beauty as the how it must appear to someone outside the industry. Is it possible to compare acting to modelling?
key theory underpinning the film? Sometimes you’re so close to a thing that you don’t realize
how absurd it is until you look at it from a third-person I don’t think so – other than being adaptable to travel and
I believe beauty in society is definitely a currency with perspective. It was fun being “that model girl”; I had a being on the go a lot. And perhaps in the sense of internal
deprecating value and therefore a curse if you assign too free ticket to be outlandish and I love how unapologetic dialogue. There is actually a lot of that with modelling and
much value to it. Yaya is. I prefer that kind of acting too; the inner dialogue that
we as humans are always trying to hide from the outside
Does the film give an insight into the world of fashion? How did you bond with the rest of the cast, particularly world.
Harris?
One hundred percent yes. Ruben’s wife Sina – who put How do you think the audience will react to TRIANGLE OF
Ruben onto me – is a brilliant fashion photographer and The camaraderie that occurs when a bunch of people from SADNESS?
she shared her experiences with him. He is definitely all over the world come together for several months on
privy to the nitty-gritty of the fashion world. a Greek island during a pandemic – well, you bet we are I have no idea! Hopefully people will leave the theatre
gonna be tight. I’m so bonded to all of the cast and crew – wanting to talk about it and discuss it. Those are my
Did the film make you reassess your opinion of the world they are friends I’ll genuinely have forever. Having Harris favourite films: the ones that get my mind going, piss me
of fashion? to work with was an absolute gift: he is kind, patient and off a little, make me laugh and cry.
ridiculously talented. I know he would cringe reading this,
I’m not sure to be honest, but I was certainly aware of but he is a gem.

Charlbi Dean and Harris Dickinson on the set

FROM STORYBOARD TO FILM
RUBEN ÖSTLUND Filmography

Ruben Östlund was born in 1974 and grew up on an island opportunity for him to experiment with techniques and Triangle of Sadness (2022)
on the West Coast of Sweden. He studied at the University style. This experimentation would become apparent in his The Square (2017)
of Gothenburg where he met Erik Hemmendorff with third feature PLAY (2011), which premiered at Cannes in Force Majeure (2014)
whom he later founded Plattform Produktion. An avid the Directors’ Fortnight. It went on to win the Nordic Film Play (2011)
skier, Östlund directed three ski films, alluding to his Prize (the most important Scandinavian prize). His fourth Incident by a Bank (2010, short)
taste for long sequence shots, a taste he structured and feature FORCE MAJEURE (2014) premiered in Un Certain Involuntary (2008)
developed throughout his film studies and which to this Regard and won the Jury Prize. It was also nominated for Autobiographical Scene Number 6882 (2005, short)
day remains an important trademark of his work. a Golden Globe and shortlisted for an Oscar. The Guitar Mongoloid (2004)

Östlund’s feature debut THE GUITAR MONGOLOID (2005) Östlund returned to Cannes with his fifth feature THE
won the FIPRESCI Award at Moscow Film Festival. SQUARE (2017), which was selected in Official Competition
and won the Palme d’Or. It was nominated for a Golden
All of Östlund’s subsequent feature films premiered at Globe and an Oscar.
Cannes, starting with his second feature INVOLUNTARY
(2008), which premiered in Un Certain Regard. TRIANGLE OF SADNESS is his sixth feature and premieres
in competition at Cannes 2022.
Östlund won the Golden Bear in Berlin for his short film
INCIDENT BY A BANK (2010). This short film provided the
HARRIS DICKINSON CHARLBI DEAN

BAFTA-nominated Harris Dickinson has received Charlbi Dean is a fresh face on the rise in Hollywood.
critical acclaim for his diverse film and television work. Born in Cape Town, South Africa, she began modeling
He was nominated for an Independent Spirit Award at the age of six and has graced the pages of major
and a Gotham Award for his breakout performance international publications including Vogue and GQ. Dean
in Eliza Hittman’s 2017 BEACH RATS. His other film makes her starring debut on the big screen in Ruben
credits include Matthew Vaughn’s THE KING’S MAN, Östlund’s TRIANGLE OF SADNESS.
Joanna Hogg’s THE SOUVENIR: PART II, Xavier Dolan’s
MATTHIAS AND MAXIME, Henry Blake’s COUNTY LINES
and THE DARKEST MINDS. His TV roles include FX series
TRUST. In 2022, he was selected as one of five EE BAFTA
Rising Star nominees and his upcoming films include the
adaptation of Delia Owens bestselling novel, WHERE THE
CRAWDAD’S SING and the murder-mystery SEE HOW
THEY RUN.
WOODY HARRELSON

Woody Harrelson first endeared himself to millions

of viewers as the affable bartender ‘Woody Boyd’ in
NBC’s long-running hit comedy, Cheers, a role for
which he won an Emmy. He would go on to receive
multiple nominations for his film work, including an
Academy Award nomination for Oren Moverman’s THE
MESSENGER, Academy Award, Golden Globes, and SAG
nominations for Milos Forman’s THE PEOPLE VS. LARRY
FLYNT, and most recently an Academy Award and BAFTA
nomination for Martin McDonagh’s THREE BILLBOARDS
OUTSIDE EBBING, MISSOURI. He has recently finished
filming Bobby Farrelly’s CHAMPIONS and the series The
White House Plumbers for HBO.

Zlatko Burić and Sunnyi Melles with the crew on the set
PLATTFORM PRODUKTION COPRODUCTION OFFICE
Plattform Produktion, based in Gothenburg and Stockholm, CHILDHOOD (2011), THE EXTRAORDINARY ORDINARY LIFE OF Founded in 1987 by French producer Philippe Bober, Together with Coproduction Office’s four production companies
is one of the most innovative and cutting-edge production JOSÉ GONZÁLEZ (2010), GREETINGS FROM THE WOODS (2009) Coproduction Office produces and distributes bold and original in Berlin, Paris, London and Copenhagen, Bober has worked as
companies in Sweden. After having met at the University of and more recently, PLEASURE (Cannes Official Selection 2020 films by visionary directors. As one of Europe’s leading a producer on forty films to date. Over half of them premiered
Gothenburg, producer Erik Hemmendorff and director Ruben and Sundance World Cinema Dramatic Competition 2021). international sales agents, Coproduction Office distinguishes in competition in Cannes, Venice or Berlin, with twelve in
Östlund founded the company in 2002. Erik Hemmendorff is one itself through an outstanding catalogue of carefully chosen Cannes. Recent awards include the Palme d’Or 2017 for THE
of the ACE producers (Ateliers du Cinéma Européen). Plattform Produktion has also produced several award-winning gems and the broad exploitation of exceptional, award-winning SQUARE by Ruben Östlund, Cannes 2019 Best Actress for
short films including INCIDENT BY A BANK (2009), winner of the films. LITTLE JOE by Jessica Hausner, Venice 2019 Silver Lion for
Plattform Produktion has won over a hundred international Golden Bear in Berlin 2010, TEN METER TOWER (2016), which ABOUT ENDLESSNESS by Roy Andersson, Berlin 2020 Silver
prizes worldwide including the Palme d’Or for THE SQUARE premiered at the Berlinale before moving on to compete in over Philippe Bober maintains long-lasting professional Bear for DAU.NATASHA by Ilya Khrzhanovskiy; Venice 2021
(2017). The company’s resume also includes FORCE MAJEURE 100 festivals including Sundance and Palm Springs, winning relationships with groundbreaking European directors: Roy Jury Prize for IL BUCO by Michelangelo Frammartino.
(2014), which premiered at Un Certain Regard in Cannes 2014. both the Jury and Audience Awards in Clermont-Ferrand as well Andersson, Michelangelo Frammartino, Jessica Hausner,
It received the Jury Prize and went on to win six Swedish as 14 other prizes. Millions saw the film online as it went viral Ruben Östlund, Ulrich Seidl... «The auteurs I work with
Guldbagge Awards, including Best Film. It was also nominated through the New York Times’ website. It has been acquired by are among those with the most personal ideas. I facilitate
for a Golden Globe and a BAFTA and shortlisted for an Oscar. the Finnish Museum of Modern Art and exhibited at the Venice them pushing the borders of cinematic language, while
Biennale. FIGHT ON A SWEDISH BEACH!! (2016) competed for simultaneously sharing the expression of these ideas with
Other notable films include PLAY (2011), INVOLUNTARY the Palme d’Or at the Cannes Film Festival in May 2016. audiences” he notes.
(2008), THE GUITAR MONGOLOID (2004), 53 SCENES FROM A
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