Triangle of Sadness (2022)

Ruben Ostlund’s latest feature won him his second Palm d’Or prize at Cannes this year (after 2017’s The Square) and it’s easy to see why the jury enjoyed this one so much. Sold by critics as a satire on the rich, the film is divided into three distinct parts; the first introduces us to a model Yaya (a terrific Charlbi Dean Kriek) and her partner Carl (an equally excellent Harris Dickinson), as they squabble over who’s paying for dinner in an expensive restaurant. Carl insists the point he’s trying to make is that it isn’t about the money; and this sets up the film rather well, even if it’s not about the money, the rest of the film ensures that however much these people try, it’s impossible to not be about the money. The second third of Triangle of Sadness is easily its most amusing, set aboard a luxury yacht inundated by the super rich, as they make increasingly absurd demands of the head of staff Paula, played brilliantly by Vicki Berlin. Woody Harrelson almost steals the film as the constantly drunk Captain Thomas, whose actions plunge the simmering tension between guests and staff to new depths at a time when the cruise has already descended into a farcical display of vomiting and violent defecation following an incredibly choppy Captain’s dinner. As Thomas and guest Dimitry quote Marx, Lenin and others over the yacht’s intercom system, insulting the rich in a well read and highbrow manor, the guests are thrown all over the place as their dinner and drinks comes firing out of both ends, in what is surely one of the years’ most ridiculous and amusing scenes. Although Ostlund’s film is undeniably a dig at the rich, he’s also aware that the rich are often in their position of wealth as a result of hard work and intellect, and pipes this idea in rather well during the films’ second act; although if you’re of the opinion that the rich should be taxed more simply because they have more money than you (even if it’s to the detriment of your own income) this may be somewhat lost; but fear not, Ostlund ensures there’s no let up for those rolling in money in the films’ final act. After Force Majeure (2014) and The Square, Ostlund has proven that any release by him is event cinema; not in the superhero’s hitting each other for two hours mold, but in creating bizarre sequences that hold your attention whilst pumping in subliminal messages that force you to think about what it is exactly that you’re watching. 8.4/10