Written and Directed by Ruben Östland
Starring Harris Dickinson, Charlbi Dean, Woody Harrelson, Zlatko Buric, Alicia Eriksson, Dolly De Leon, Vicki Berlin, Sunnyi Melles, Iris Berben and Henrik Dorsin

When it comes to observing human behaviour and interactions, and deriving biting satire and thought-provoking themes from this, one of the most mesmerising filmmakers in the business is two-time Palme d’Or Winner, Ruben Östland. His two most recent films in particular come to mind, the Oscar-nominated The Square (2017) and possibly my slight fave, Force Majeure (2014). These two excellent films were analytical and critical of its central male protagonist in completely different ways and sparked plenty of healthy debate with others I’d seen it with and later showed to. His latest work, Triangle of Sadness, starts off in similar shape and is bound to generate the same type of discussions, albeit this satirical dark comedy is less stinging and more broad in its scope. 

The first item on its agenda is the modelling industry where we meet this film’s central character, a male model named Carl (played by rapidly rising young star Harris Dickinson) being interviewed among other male models as they await their turn for an audition. This entire opening sequence is a great one. It’s hilarious, deliciously ridiculing and the epitome of what to expect in a film written and directed by Ruben Östland. I immediately thought to myself that if the rest of the film remains this way for the next two and a half hours, Triangle of Sadness may very well become the best movie I see released in 2022.

Those lofty sentiments continue during the next sequence where we meet Carl’s girlfriend, social media influencer Yaya (the late Charlbi Dean). The two engage in an extremely awkward conversation over dinner at a fine dining restaurant that follows them to their hotel room where who is in the right and wrong is a matter of personal opinion. That is just part one covered in a film told in three parts! The only additional sequence setting I am going to reveal is Part 2, named ‘The Yacht’. Carl and Yaya are invited to board a luxury cruise liner with several wealthy guests in exchange for promoting it on social media. The exclusive guest list includes characters such as a Russian oligarch, an elderly couple who manufacture something most would not expect and a perpetually drunken Captain, to name a few. 

Back to my earlier comment, you can now begin to fathom how the scope for satire in Triangle of Sadness is broader than it has been before in a film from the acclaimed Swedish-born writer and director.

By the time Part 3 arrives, which occurs after the film’s most grotesque and hilarious sequence of all, there is no doubt that the narrative and themes on board this vessel start to show signs of stagnating. Its own lengthiness is now catching up to it. Part 3 produces interesting twists and continues taking swipes at individuals indulging in lavish lifestyles and social class settings, but it also drastically darkens the film’s humour to a degree that will likely result in humour being lost for many. 

I can’t help but feel the directing lost its pinpoint focus courtesy of the writing. Too many characters are given too much screen time for what ultimately provides very little contribution to its themes. Namely, Dimitry, the Russian oligarch. Perhaps being shot in three chunks throughout 2020 due to lockdowns also contributed to Triangle of Sadness forming a tendency to go around in circles somewhat? To be clear, as a work of satire, Triangle of Sadness is still way better than most others out there, even though it fell below my expectations. I found that it wasn’t as consistently crafty in how it handled its scenarios, lost its sense of timing, and became uneven, delivering too drastic a change by the end from how it started.

Triangle of Sadness is showing in selected cinemas across Australia from Boxing Day.

Moviedoc thanks Sharmill Films for the invite to the screening of this film.

Review by Leigh for Moviedoc

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