Triangle of Sadness – Drama and Comdey Fim
The film Triangle of Sadness was entered into the 2022 Cannes Film Festival, where it received an eight-minute standing ovation and won the Palme d’Or. This award is considered one of the most prestigious film awards in the world
The festival’s top prize Palme d’Or was awarded to Ruben Östlund the Director of the film.
The film was entered into the 2022 Cannes Film Festival and won the Palme d’Or with an eight-minute standing ovation.
The honours were chosen by a nine-member jury led by French actor Vincent Lindon and given at the Grand Lumière Theater in Cannes on Saturday.
A super-rich cruise sinks, trapping people on an island, including a fashion model celebrity couple.
Triangle of Sadness is a satire film written and directed by Ruben stlund that will be released in 2022 and stars Harris Dickinson, Charlbi Dean, and Woody Harrelson.
A cruise for the super-rich sinks thus leaving survivors, including a fashion model celebrity couple, trapped on an island.
Triangle of Sadness is a 2022 internationally co-produced satirical film written and directed by Ruben Östlund and starring Harris Dickinson, Charlbi Dean and Woody Harrelson.
Production of the film was paused on two occasions in 2020 due to the COVID-19 pandemic.
Storyline
Carl and Yaya are navigating the fashion world while also testing the limits of their relationship.
A rogues’ gallery of super-rich tourists, a Russian oligarch, British arms dealers, and an eccentric, alcoholic, Marx-quoting skipper are all invited on a luxury cruise.
At first glance, everything appears to be Instagrammable.
However, a storm is gathering, and the passengers begin to feel seasick during the seven-course captain’s supper. The cruise comes to a disastrous conclusion.
Carl and Yaya are stranded on a desert island alongside a group of billionaires and one of the ship’s cleaners. The housekeeper is the only one who knows how to fish, which turns the hierarchy on its head.
About Film’s Story
The story Triangle of Sadness is divided into three chapters, each with its own setting.
Chapter 1:
The first is set in the modelling world and centres on Carl (Harris Dickinson) and Yaya, two models who are dating (South African actress Charlbi Dean Kriek).
One of the best and funniest set pieces in the film comes in this segment about men, women, gender roles, and restaurant bills.
Carl believes that theirs should be an equal partnership, however Yaya, who has built her life on the benefits she believes she is entitled to, is opposed to the idea.
She creates beauty, and she believes the world owes her a debt of gratitude.
Chapter 2:
The second segment of the film takes place on a $250 million luxury boat, where the entire crew, with the exception of the captain, is dedicated to pampering the wealthy visitors and catering to their every whim.
The trip is a display of the absurd privileges of the wealthy and beautiful, who can’t see past their immediate demands and are blind to the malevolence in their extravagant giving. When a Russian businessman’s inebriated wife declares she wants everyone of the staff to have a good time, they must all line up to have a good time.
The film’s energy and plot are derived from the yacht’s sun decks.
Everything is OK until the ship’s captain (Woody Harrelson), who had gone missing and appeared to be having an existential crisis, reappears. The captain’s meal is disrupted by a sea storm, and things don’t go well, very literally.
I strongly advise you to relax and concentrate during this portion.
Ostlun goes entirely off the rails here, and the satire devolves into sewage.
Chapter 3:
The film’s third and final part takes place on an isolated island.
Some passengers and crew members have been stranded and are surviving on a diet of chips, pretzels, and Evian. Except for Abagail, the ship’s lavatory manager, no one has any survival skills (Dolly De Leon).
The island is where power shifts, hierarchies shift, and new dynamics emerge. Abagail, who finds herself in the captain’s chair by accident, decides to claim some of the perks and pleasures for herself.
Ostlund isn’t known for being a gracious director.
He’s not the type to be gentle with the sick.
He’s the type of filmmaker who will zero in on something that is certain to irritate people and then keep doing it until they squirm and shout.
He has, however, been deceptive in the past.
This is not the case.
The audience’s thirst for faeces, bile, and overflowing toilets is utterly ignored in Triangle of Sadness, and Ostlund’s attitude appears to be “less is more.”
He conducts the three segments of the film as though they were operatic works with rigid class hierarchies and only a few moving parts.
He aspires for terrible anguish in each one.
When life comes full circle at the end of the film, it is truly sad and the right ending to this wonderful work.
Ostlund isn’t known for being a gracious director.
He’s not the type to be gentle with the sick.
He’s the type of filmmaker who will zero in on something that is certain to irritate people and then keep doing it until they squirm and shout.
He has, however, been deceptive in the past. This is not the case. The audience’s thirst for faeces, bile, and overflowing toilets is utterly ignored in Triangle of Sadness, and Ostlund’s attitude appears to be “less is more.”
He conducts the three segments of the film as though they were operatic works with rigid class hierarchies and only a few moving parts.
He aspires for terrible anguish in each one. When life comes full circle at the end of the film, it is truly tragic and the fitting ending to this beautiful piece of satire.
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Credit
Ruben ÖSTLUND – Director
Ruben ÖSTLUND – Script / Dialogue
Fredrik WENZEL – Cinematography
Josefin ÅSBERG – Set decorator
Ruben ÖSTLUND – Film Editor
Mikel CEE KARLSSON – Film Editor
Jonas RUDELS – Sound
Jacob ILGNER – Sound
Bent HOLM – Sound
Cast
Conclusion
The initial half is intriguing, but the rest of the book is heavy-handed and derivative (themes from Marco Ferreri’s La Grande Bouffe and JM Barrie’s The Admirable Crichton).
Others admired its undeniable bravado and showmanship, as well as its ambition.
This film was undeniably a conversation starter.
But there were no concepts in it that hadn’t already been expressed more quietly, more rewarding, and still more strongly in his earlier film, The Square, and it felt very hollow to me.
Perhaps the film’s internationalist/stateless casting and setting contributed to the jury’s unanimous decision.
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