Triangle of Sadness 4K 2022 Ultra HD 2160p

Models Alex (Harris Dickinson) and Yaya (Charlby Dean Creek) get free tickets to a private cruise where everyone but them is a living joke, insanely rich screwball. Russian oligarch Dimitri (Zlatko Burich), who made his fortune in fertilizers (he calls himself "the king of shit"), his wife and mistress, an arms-dealing British couple, a drowning Marxist captain (Woody Harrelson), and so on. All day long they kill time, the only important event being dinner with the captain. That's when the ship gets caught in a storm, rocking all the people on board to the point of hellish nausea.

Triangle of Sadness 4K Review
Models Alex (Harris Dickinson) and Yaya (Charlby Dean Creek) get free tickets to a private cruise where everyone but them is a living joke, insanely rich screwball. Russian oligarch Dimitri (Zlatko Burich), who made his fortune in fertilizers (he calls himself "the king of shit"), his wife and mistress, an arms-dealing British couple, a drowning Marxist captain (Woody Harrelson), and so on. All day long they kill time, the only important event being dinner with the captain. That's when the ship gets caught in a storm, rocking all the people on board to the point of hellish nausea.


I should say right off the bat that "Triangle of Sadness" is not the best film by Swede Ruben Ostlund, for which he won the second Palme d'Or at this year's Cannes Film Festival. "Triangle" is also one of the worst Cannes winners of the past 10 years, with only "Dipan" (2015, directed by Jacques Odiard), "Winter Hibernation" (2014, directed by Nuri Bilge Ceylan) and "Life of Adele" (2013, directed by Abdelatif Keshish) below. But that doesn't make Ostlund's new work any less interesting. In The Triangle of Sadness, the author is true to himself and again accurately shows the changes and secret experiences of an extremely privileged society through his protagonist, a man with a pinched sense of grandeur. In "Force Majeure," it was the father of a family fleeing from his wife and children at the sight of an approaching avalanche, in "The Square" it was the bewildered museum curator who had his phone stolen, and in "The Triangle of Sorrow," Ostlund chooses Alex the model as his victim. He's not particularly successful, his last big contract was three years ago, but his girlfriend Yaya is a cheering and applauding presence as she walks down the catwalk. Through Alex (as well as other men and women), Ostlund shows how gender norms have changed in society, but not everyone has realized it yet, and they keep unraveling their tails or "playing dumb" in front of the other sex. This can be understood from the first scene of the characters drinking wine in an expensive restaurant: Yaya earns more money, but purposely gives the blocked card to the waiter so that Alex will pay for it. At first he's offended by her manipulation, angry at the pettiness (their bill wasn't higher than 50 euros), but then he accepts the rules of the game - and what else is he supposed to do.

In the film's second chapter, titled "The Yacht," Alex and Yaya go on an elite cruise where rich people stew in each other's company. The ship isn't sailing anywhere and there's no entertainment, so everyone just drinks bubbly and roasts in the sun. During the pathos dinner, a storm surrounds the ship, the gentlemen dressed in expensive clothes vomit, and the eternally drunken Marxist captain and the "king of shit", the Russian capitalist, discuss the vices and laws of a dirty world over the speakerphone. The ship is then blown up by pirates, and several passengers and ship workers swim ashore to an unnamed island, where their social roles are reversed: The "toilet manager" Abigail (Dolly De Leon) turns into the "captain" whose word decides everything.

Ruben Ostlund was serious in the first chapter, but the second and third chapters are farcical. The director has been fooling around since the beginning of The Triangle of Sorrow, splitting the film into chapters, as the "big masters" (like Lars von Trier) do, philosophizing about the fate of humanity. Ostlund knows what the audience expects from him, the festival author, and he plays along. Here you have the image of Europe as a ship (like Federico Fellini), a feminist commentary in the person of a man (Trier again), and a critique of capitalism (in the style of "Parasites"). But it's all utter nonsense, totally irrelevant to the work, though it's appealing as the vomiting scenes from a third-rate American comedy, curious in the context of the Cannes Film Festival.

More important is what Ruben Ostlund carries over from his previous works into the new one: again, he has a sense of mild melancholy over the meaninglessness and stupidity of existence, people driven mad by prosperity, petty quarrels, valuable conversations about nothing, a hero who looks like a defenseless baby and a documentary observation of space. Ostlund uses the banal metaphor of a sinking ship, but shows it from an unusual angle: the ship is rocking on the waves, its perfectly clean corridors and halls are empty, alien to man. The cruise's passengers are empty, with nothing to say to a friend, but only Alex, who can only smile and play with his pectoral muscles as he walks, has a kind heart. The director mocks all the characters in the film, but he loves and understands his defenseless men. They, on the other hand, have a very hard time in a world where you can't kill an animal or bring home a lot of money to win a woman - it takes something more than that, which they are not yet capable of. This little sense Ruben Ostlund hides in a pile of junk, vomit, and pseudo-intellectual drunken nonsense. He does this because that's how life is, where a banana taped to the wall can be sold for $120,000.