The film asks us to eat the rich, but Criterion’s release is at best a delicious light snack.
Whatever they do next, we hope that Daniels keeps it real.
The two-time Palme d’Or-winning filmmaker discusses his sociological imagination, the setup of his next project, and more.
Writer-director Ruben Östlund’s pessimism ultimately leads the film toward a self-negating dead end.
Östlund says that he has no qualms about skewering his characters’ more blatant hypocrisies.
Throughout, it always threatens to put too fine a point on otherwise thrillingly indeterminate situational comedy.
The filmmaker draws strength from affixing viewers to one rigid perspective, and then refusing to let them blink.
For Ruben Östlund, a movie camera is an instrument of provocation and exploration.
Ostlund has a keen ear for dialogue and a perfect grasp of the push-and-pull rhythms of an imploding relationship.
Writer-director Ruben Östlund masterfully manages the marital tensions that drive the film’s plot forward.
Unlike many of its similarly scaled brethren, the Sarajevo Film Festival is very much at one with its host city: equal parts up-and-coming and garrulous, and the product of oft-divergent influences.
Watching Play, one smells a rat.