‘Glass Onion’ and ‘Triangle of Sadness’ Reveal Biggest Fall Movies Next to ‘Eating the Rich’

Much of pop culture revolves around the voyeuristic urge to see what the other side is like. The culture is more interesting than ever, as we follow twenty influencers paid by their parents, follow famous multimillion-dollar home listings on Zillow, and hate it — but keep up with the Kardashians. Embedded in this idea is a black, anti-establishment (and anti-capitalist) imperative: we want to see these people suffer.

This year’s Toronto International Film Festival, between epics about strong female heroes and mild autobiographical dramas about the childhood of our beloved leaders, there is a good group of films It’s all about the negative joy from the deep schadenfreude of watching something emotional. it’s better before you’re taken down in abundance. Down, down, down…

The most obvious and recognizable is through the heavy hand of Swedish cringe-comedy maestro Ruben Östlund, whose first film. The Square peel back the layers of art world humor to reveal the car at the center. The scene before that, his global success, Great strength, opens up our ideas about heterosexual male roles in the aftermath of the breakup of a good family on vacation at a ski resort. His latest movie, Triangle of Sadnessis set aboard a luxury yacht, watching with glee as the boat’s wealthy passengers humiliate and embarrass themselves—and humiliate and embarrass themselves in a natural way.

It begins in the middle of a simulated phone call, where Carl (Harris Dickinson) and his cheeky friends ask a question from an interviewer who explains to them the concept of “angry symptoms” (high-end models whose models are always rocking. the runway and photo shoots) and “smiley brands” (low-cost clothing stores with models who jump with joy on their shelf covers name). The men play playfully, shouting as he shouts “Balenciaga!” laughing when he said “H&M!”

Later, Carl and his supermodel girlfriend Yaya (the late Charlbi Dean, who deserves her breakout performance) have a big fight over who should foot the bill at an expensive restaurant (she does more than him, but they both can. give it to her). On board, Yaya Instagrammed her food before eating. The passenger shows the listener how valuable and lonely he is. The captain’s dinner, carefully arranged by the yacht’s staff, turns into a terrifying madhouse of vomit and other bodily contents as the passengers fall wild and with the raging of the raging sea. Wealth is the worst.

After taking action on the old financial elites of 2019’s comedy whodunnit The knives are outDirector Rian Johnson is setting his sights on new investors with the result being financed by Netflix (the first of at least two) Crystal Wind: A Mysterious Knife. Detective Benoit Blanc (Daniel “Foghorn Leghorn” Craig) is invited to the private island of technology (gag) Miles Bron (Edward Norton), whose mysterious weekend murders become more than a game between friends. Blanc quickly realized that her visitors were less than friends and more like confidants, their own business — political firebrand, gay rights YouTuber, socialite on the side. of cancellation – financed by the money and power of Bron. In other words, everyone has a purpose.

Crystal Wind: A Mysterious Knife


Like The knives are outthe idea of Glass window It’s a fascinating web of both secrets and bluffs, but unlike its predecessor, this film actually depicts a villain with murderous intentions. Without spoiling any of the good things (and there are many), the film ends with a rebuttal from Blanc, blaming the ultimate culprit for their utter stupidity in planning and with the execution of the right crime. “It’s just DUMB!!” he growled, shaking his head in frustration.

You don’t have to be smart to collect the money and power of this movie rogues; you must stumble upon the right place at the right time, a lee on the coattails of those who came before you. Blanc, secretly hoping to find a criminal worthy of his talents, is scorned.

There may not be a film at this year’s festival quite like Mark Mylod’s The Menua twisted, shaky send-up of fine dining culture, where the rich prefer to punish themselves by living up to high “concepts” rather than indulge in the proletarian idea of ​​just feeding taking

A group of strangers, including the suspicious Margot (Anya Taylor-Joy) and her best friend, the foodie Tyler (a brilliant Nicholas Hoult), take a boat to The Hawthorne, a restaurant private ship run by the intimidating Chef Slowik (Ralph Fiennes). , which is known for its creative and constantly changing menu. Melon is peeled, sliced, and made into Dippin’ Dots of “snow.” A single scallop is placed on an inedible stone with various greens brought from the nearby sea.

Food is not meant to be enjoyed, but to be looked at, experienced. “Do not as far as,” said Slowik, his lips curling in front of the word as it left his mouth. “You eat less than you want and more than you need,” he explained. to some guests who were left hungry and upset by the “Breadless Bread Plate”, which is a plate with dollops of inedible bread. One of the guests, a critic proud restaurateur (Janet McTeer), who tries to play by throwing nonsense like “thalassic” and “a biome of culinary ideas” into each new dish.

At first, the film seems to take on the usual “us vs. Us” format. But there’s more going on than just that: The film won’t let a chef who serves His guests will do it easily. Those who have contributed to the abuse of the upper class and the corruption of happiness, turning things that are meant to be savored into things to be endured, must be punished. done.

The sound of the king’s shirtlessness is new—The great gatsby maybe it’s the specific message about money can’t buy happiness, and this year there are many movies, such as The Lost City, Morbius, a Jurassic World: Dominionwhere material threats are individual evils.

There’s more to this year’s TIFF: In History Corsage, Vicky Krieps plays the Empress Elizabeth of Assyria, dangerous in her beautiful dresses and gowns, always demanding to know if the people around her find her beautiful. even if Wendell & Wilda joint effort from stop-motion master Henry Selick and comedy duo Keegan-Michael Key and Jordan Peele, a rallying cry against the millionaires fueling the school-to-prison pipeline.

The difference lies in the nasty little wishes that appear beneath the slick layers of Triangle of Sadness, Glass Oniona The Menu, they all offer the dark desire to watch the people we hate as they are made to laugh and squirm. The Emperor has clothes, very many, a wardrobe full of beautiful clothes—but they are wrinkled, big, and heavy, the kind of clothes that would weigh him down if we drove him away. from life. ship


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