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One of the more contentious Palme d’Or winners in recent years is Ruben Stlund’s “Triangle of Sadness.” Some people believe the book’s highlighted themes and evident targets are a little too simplistic and obvious. On the other hand, some may argue that those targets merit ridicule, and the writer/director of “Force Majeure” and “The Square” employs his humor to do so with hysterical accuracy. Given that this cinematic journey is almost as lengthy as a “three-hour trip,” it is simple to understand both points of view. In spite of the fact that Stlund’s critique of the shallow elite contains some indisputable incisive dialogue exchanges and entertaining storytelling twists, some of it, particularly in the final act, begins to feel unnecessary and perhaps even as superficial as the ultra-wealthy that the film seeks to denigrate. Even though it explores such abhorrent behavior, “Triangle of Sadness” securely resides on the tier of kindness despite its lack of excellence.
Naturally, “Triangle of Sadness” is a three-act play, with the first act maybe being my favorite. After a formal dinner, we are introduced to Carl (Harris Dickinson) and Yaya (Charlbi Dean), two dating models, in this short film. Carl has had the bill there long enough to recognize that, despite her assurances last night, his girlfriend has no intention of paying it. The conversation turns back to the hotel, where Yaya remarks she is covering for Carl, while the two quarrel about her gender-based presumptions. A keen and innovative examination of gender norms and transactional relationships is implied in this extremely promising prologue for “Triangle of Sadness.”
Then, it doesn’t exactly accomplish that. Stlund has a propensity to become sidetracked by an analogous notion without making the effort to relate it back to the last one in a pleasing way, as I believed he did with “The Square” as well. “Triangle of Sadnessmiddle “‘s half is set on a yacht, to which Yaya and Carl have been invited to socially advertise. (She pretends to eat the pasta while taking selfies with it close to her mouth.) Here, Stlund parodies “Upstairs, Downstairs,” introducing us to a group of folks who are so wealthy that they have completely lost contact with everyday life. Most of them, like the lovely elderly couple who got their fortune from explosives or the man who loves to tell people he gained his money with shit—a he’s fertilizer magnate—have amassed generational wealth through endeavors that haven’t exactly improved the world. As the wealthy people sunbathe on the deck above, the white staff celebrates their possible tips in the middle, and the majority non-white staff sits in the hull below, Stlund plays with the literal social strata from the outset of this part.
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Stlund’s intention is demonstrated by a string of hostile conversations. The yacht has no sails, but a woman (Mia Benson) insists that the sails must be cleaned. Yaya notices a worker who isn’t wearing a shirt, and Carl gets envious and essentially fires him. Oliver Ford Davies’ (Oliver Ford Davies’) bland computing genius comes to life as two attractive women pose for a picture with him. Sunnyi Melles, a passenger, demands that the entire crew go swimming. In Stlund’s most unsettling decision, a different woman (Iris Berben) who has had a stroke and is unable to speak can only repeat the phrase “In Den Wolken,” which translates to “In the clouds.” Without a doubt, that is where Stlund believes the majority of these folks reside—far from a solid reality.
Triangle Of Sadness Quiz
Even while everything is quite evident, it does create a fertile ground for the possible destruction of society norms. These folks have obviously been set up to fall from the lofty positions they currently occupy. This is revealed in “Triangle of Sadness'” pivotal scene, a silly but captivating scene in which the passengers are seated for a luxurious Captain’s Dinner on a stormy night. Stlund tilts his camera back and forth with the waves, making us feel almost as queasy as the characters on film, as Woody Harrelson’s weary skipper opts to eat a hamburger rather than whatever the chefs have prepared to wow the passengers. The last act, which reverses roles and places one of the ship employees (a memorable Dolly De Leon) in a position of unexpected power, is what causes the night to deteriorate into a wild display of bodily fluids that essentially destroys all social systems.
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Even though it’s difficult to escape the impression that Stlund believes he is saying more with this film than he actually is—I believe that pretentious intent is the cause of the majority of the hateful responses to it—this didn’t make the movie any less entertaining in my opinion as a social satire. Despite the fact that Stlund is shooting fish in a barrel, the fish had it coming, and he turns them into a delectable supper with sea urchin and squid emulsion on the side. Although Dean gives a compelling performance, Carl and Yaya surprisingly lose importance as Stlund becomes more concerned in issues than characters, I don’t regret taking the ship. I wish the adventure had lived up to its prologue.
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