TRIANGLE OF SADNESS
By: Adam Freed
Swedish director Ruben Ostlund is no stranger to forcing emotional and moral dilemmas upon his audiences. In his newest film, Triangle of Sadness, a term that refers to the brow narrowing focal point between the eyebrows and the bridge of the nose, he creates a series of well rounded and superbly shallow characters, the depths of whose depravity knows no end.
In his follow up to his Oscar nominated Swedish language film The Square, Triangle of Sadness earns Ostlund his second nomination, this time for best picture. This film may perhaps be the most satisfyingly disastrous takedown of twenty-first century shallow culture ever filmed. Characters wink, while operating at kiddie pool depth, making it easy to loath just about everyone in this film.
Ostlund’s bold and creative film explores the Infinite insignificance of influencer culture in tandem with society’s reverence for those whose bank accounts are only dwarfed by the destruction they leave in pursuit of riches. It’s all Just about enough to induce a painfully memorable scene featuring the pairing of sea sickness and medium rare seafood.
There is no one in this film for whom it is worth rooting, to such an extent that the rage-track backed visuals of the inevitable downfall of a quarter billion dollar super yacht filled with fecal backup comes as a delightful experience. The moral dilemma posed to the audience is real, albeit heavy handed.
Triangle of Sadness is not the best movie of the year, but perhaps the clearest mirror into which society must gaze. A double feature with The Menu (2022) should be just about enough to cause anyone to question whether or not society is actually worth saving.