In Ruben Östlund’s wickedly funny Palme d’Or winner, social hierarchy is turned upside down, revealing the tawdry relationship between power and beauty.
Cinematic mischief-maker Ruben Östlund liberally applies his customary playfulness to the wide canvas of his wildly ambitious, frequently hilarious new film, which won the Swedish director his second Palme d’Or at this year’s Cannes Film Festival. Kicking off as a satirical romance, following the bickering, money-soured relationship between two attractive young models (Charlbi Dean and Harris Dickinson), the three-part film escalates into increasing absurdity after they are invited on a luxury cruise, where they rub elbows with the super-rich, as well as a disheveled and disillusioned, Marx-spouting sea captain (Woody Harrelson). To tell more would ruin the outrageously Buñuelian twists of this poison-dipped farce on class and economic disparity, which doesn’t skewer contemporary culture so much as dunk it in raw sewage. A troubling, gleefully misanthropic social satire, TRIANGLE OF SADNESS will, like Östlund’s FORCE MAJEURE, spark endless debate — and no doubt wreak havoc on the cruise industry.