Ruben Ostlund did it.

He won the Palme d'Or at the 75th Cannes Film Festival for his film "Triangle of Sadness".

After winning the palm tree five years ago with "The Square", the forty-eight-year-old Swede has now joined the exclusive club of those film directors who have already received the world's most important festival prize twice - they include the American Francis Ford Coppola, the Brit Ken Loach, the Austrian Michael Haneke and Östlund's compatriot Bille August.

"Triangle of Sadness", the story of a shipwrecked luxury cruise in the Mediterranean, had won over the premiere audience in Cannes and divided international criticism.

The jury, chaired by French actor Vincent Lindon, ultimately agreed with the audience.

Andrew Kilb

Feature correspondent in Berlin.

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The brothers Jean-Pierre and Luc Dardenne have already won two Golden Palms in Cannes.

This time they received a special prize for the 75th festival anniversary for their migrant drama "Tori and Lokita" - which was perhaps less a makeshift solution than an honest expression of the fact that there was actually no film in this year's competition that dealt with the work of the Dardennes in force and measure directness.

This also applies to the Belgian Lukas Dhont, who received the grand prize of the jury for his friendship tragedy “Close”, which is strongly reminiscent of the Dardennes but clearly over-instrumented, ex aequo with the French director Claire Denis for “Stars at Noon”.

The award for the French woman came as a surprise, however, as Claire Denis has made many exciting, adventurous and daring films,

but "Stars at Noon" is not one of them.

The award for the love story between a journalist and an agent in Central America was much more a reward for a (hopefully unfinished) life's work.

The embarrassment of the jury in view of this year's competition selection was more noticeable in the other festival prizes.

This includes the double Jury Prize for Jerzy Skolimowski's "Eo" and the film "Le otto montagne", set in the Italian Alps by Belgian director duo Charlotte Vandermeersch and Felix van Groningen, as well as the screenplay prize for Tarik Saleh's "Boy from Heaven".

The fact that the Korean Park Chan-wook received the director's award for his neo-noir detective story "Decision to Leave" is just as acceptable as the award for best actress, which went to the Iranian Zahra Amir Ebrahimi for her leading role in Ali Abbasis Film Holy Spider left.

The most undisputed honor of this palm dance was the award for the Korean actor Song Kang-ho for his performance in Hirokazu Kore-eda's film "Broker".

His portrait of a man who wants to sell an abandoned baby but gradually abandons his plan in search of a buyer was one of the festival's finest experiences.

So at the end of the seventy-fifth film festival on the Croisette, one could believe in the cinema again.

Even if his crusaders were occasionally shipwrecked at Cannes.

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