TRIANGLE OF SADNESS (2022) – An artistic satire of the privileged and on social inequalities

This has been on my watch list for a long time and somehow got buried under all the newer releases. It resurfaced when I saw a clip from the film featured in a Facebook posting which showed a scene from the film between the two characters fighting over who should pay for the dinner bill that was so fascinating. So, I dug up a copy of this and finally gave this a watch.

Triangle of Sadness is directed by Swedish director Ruben Ostlund who first got my attention for his work in Force Majeure in 2014. That film dealt with fragility of human relationship after a family experienced a traumatic incident involving an avalanche during a ski vacation. Ruben Ostlund made that film memorable through his unique style and script. Triangle of Sadness is significant because it is his first English language feature debut and for its win of the coveted Palme d’Or , the highest prize awarded at the Cannes Film Festival in 2022. In fact, this is Ruben’s second Palme d’Or win having won in 2017 for The Square. Triangle of Sadness went on to receive recognition from its multiple nominations for major awards like Golden Globe, BAFTA and the Academy Awards although it eventually did not win any of the awards it was nominated for. With such an illustrious background, can you blame me for approaching Triangle of Sadness with high expectations?

I found Triangle of Sadness good, but not great. It was very good in many parts and I truly enjoyed the subtle humour amidst the witty conversations that the illustrious characters exchange with each other. Director Ruben Ostlund who also wrote this has been generous with his brand of style with its commentary on the rich and privileged and the corruption of power. He divided the movie into three parts (perhaps as a reference to the triangle in the title) that focus firstly on a couple’s difference of opinion over stereotyped sex-based expectations in society, followed by a luxury cruise that turns chaotic, and finally a segment on survival. The performances from the cast were great. In particular Charlbi Dean and Harris Dickinson playing the Instagram influencers cum models, couple who find themselves caught up in a life changing situation. Then there is the showstopper performance by Filipino actress Dolly de Leon in the final segment. It is to Ruben’s credit that he can garner such worthy performances from effectively unknown faces.

My issue with the film is that it felt uneven at times and the circumstances surrounding the unfortunate outcomes felt contrived. The theme of class inequality (between the privileged and the less well off working class) felt at times forced as in the case of the luxury cruise’s disastrous night during the dinner with the captain event. There are some deja vu moments with the similarly themed The White Lotus, The Menu and Glass Onion, which make this seem less original. If I have to make a comparison, The White Lotus would be my personal pick as the best in class for this theme. Ruben Ostlund has a habit of ending his films open for interpretation. So, be prepared for an ending that may not feel quite the closure you would typically expect. It is one of those movies that lets the audience decide the fate of the characters after its abrupt final shot. Enjoy …..