[Source: Associated Press News]
Fashion models, Instagram influencers and Russian oligarchs collide on a yacht — and some very extreme sickness — in Ruben Östlund’s “Triangle of Sadness,” a social satire that had viewers at the Cannes Film Festival in hysterics.
The Swedish filmmaker’s latest, co-starring Woody Harrelson as a Marxist boat captain, has made one of the biggest splashes at this year’s festival. At its premiere Saturday evening, there were such waves of laughter and applause that Östlund on Sunday compared it to a crowd at a soccer match.
Östlund has already found an international audience for movies that take an uproarious, uncomfortable aim at money, masculinity and other big social targets in films like the Alpine marital drama “Force Majeure” (remade as “Downhill,” with Julia Louis Dreyfus and Will Ferrell) and the art-world satire “The Square,” which won the Palme d’Or top prize at Cannes in 2017.
But in his first English-language film, and with a budget twice that of “The Square,” Östlund wanted to go even further with his particular brand of “rollercoaster for adults” cinema.
“Triangle of Sadness,” which is playing in competition for this year’s Palme d’Or, is named after a term in the fashion world for a triangle-shaped crease between the eyebrows. The first third of Östlund’s film follows a male model played by Harris Dickinson and his influencer girlfriend portrayed by Charlbi Dean who argue over picking up a check after dinner.
Other riffs on fashion follow, but “Triangle of Sadness” moves into another gear in its second act, when they take a trip on a luxury yacht captained by a drunk socialist (Harrelson). The boat’s uber rich tourists include weapons makers and a Russian fertilizer magnate played by Zlatko Burić.
“Triangle of Sadness” reaches a comic crescendo when the seas turn rough, and an elaborate dinner ends up a farce of vomiting — and worse — while the captain and oligarch debate politics.
Harrelson has quickly become a great fan of Östlund. On Sunday, he told reporters that making “The Triangle of Sadness” was a “revitalizing” experience and announced that he’ll be in Östlund’s next film, whether the director wants him or not.
Östlund granted that winning the Palme d’Or previously added pressure to making “Triangle of Sadness.” But given the enthusiastic response from festivalgoers, Östlund could find himself in the mix again for Cannes’ top prizes.