Following his breakthrough masterpiece Force Majeure and the 2017 Palme d’Or winner The Square, Swedish filmmaker Ruben Östlund has returned to Cannes in competition with yet another hilarious and thought-provoking satire critiquing capitalism and the bourgeoisie. The titular “Triangle of Sadness” is a term that refers to the small area between one’s eyebrows and nose bridge, where wrinkles typically appear. These don’t quite suit beauty industry standards, and can thus be treated and erased with botox.
Ôstlund’s English-language debut unfolds in three chapters. The two characters who serve as the thread linking them together are Carl (Harris Dickinson), a male model past his prime, and Yaya (Charlbi Dean Kriek), Carl’s girlfriend and fellow model/influencer, who utilize their relationship to gain more social media followers. The introductory chapter follows their argument about who should be paying the bill at a high-end restaurant, since Carl doesn’t think they should enforce existing gender roles.
Having been gifted a free cruise trip, the pair usher in the next chapter, which sees them as the youngest and poorest people on an opulent luxury yacht that counts a Russian oligarch (Zlato Burić) and a Swedish coding billionaire (Henrik Dorsin) as passengers. Running the boat are chief steward Paula (Vicki Berlin) and a drunken Marxist captain who refuses to leave his room (Woody Harrelson). On the stormy night of the Captain’s Dinner, things take a turn for the worst in a hilarious and gag-inducing sequence of projectile vomiting and diarrhea from the guests. Without getting into spoilers, the concluding chapter finds a select few of the passengers experiencing a reversal of roles and hierarchies when the ship’s toilet manager, Abigail (Dolly De Leon) — who is skilled at everything necessary for survival — emerges as the new leader. This spectacular third act is when Östlund really starts to dig deeper into class differences, as the rich begin to coexist with marginalized workers.
An ironic motto that is stated frequently throughout the film is “we’re all equal.” It first appears during a fashion show that Carl attends, although he isn’t important enough to have a seat reserved for the event. It is said again by the Russian businessman’s wife, played by Sunnyi Melles, when she demands the entire crew abandon their work and go on a swimming break, disguising the immense power of her elite status as a simple kindness extended to the employees who exist in another wealth bracket. Much of Triangle of Sadness — up until the final part — is composed of characters flexing their fortune, highlighting how they will never be equal to those working above and below deck, although Östlund’s message sometimes gets lost in the chaotic plot.
The film is shot by Östlund’s regular collaborator Fredrik Wenzel, who makes full use of the over-the-top plot and crafts glossy, opulent, and maximalist visuals that dazzle while also highlighting the social commentary regarding class and wealth inequality. In terms of casting, Harris Dickinson is pitch-perfect as a peak “himbo” whose attractiveness is the only thing going for him. The rest of the ensemble is equally fantastic, especially Burić and Harrelson, who seem to be having the most fun with their characters, especially during scenes where they lock themselves in a cabin and get drunk while bickering about their respective politics — capitalism and communism — as everyone else on the boat goes through hell during a storm.
Unhinged and wholly unsubtle yet precise in its approach, Östlund doesn’t take anything off the table when approaching the 1%. A lot happens in Triangle of Sadness’ two hour and 20 minute runtime, and perhaps it could have benefitted from being a half hour shorter and a less convoluted message, but it’s a glorious spectacle that makes for a hell of a good time. There isn’t anyone better to make this type of movie, and Triangle of Sadness is certainly one of the highlights of this year’s Cannes selection.
