With “Triangle of Sadness,” Ruben Östlund “takes on the easy targets of the obliviously rich and their glamorous entourages and delivers a handful of café-table insights and would-be outrages that seem calculated to the millimetre,” tnyfrontrow writes.
Not only does “Triangle of Sadness” mock Yaya’s work as an influencer; it sets up Carl and Yaya as frivolous wannabes, even riper for a takedown than the rich with whom they hobnob, because they enjoy the same privileges without selling their souls but merely their images. The hollow simulacra of humans surrounding them on this ship of fools include Dimitry , a Russian oligarch who boasts of selling “shit,” i.e.
A handful of small-scale scenes deliver quiet but sharp jabs to viewers’ ribs regarding the cavalier display of casual power. Carl, jealous of Yaya’s wink at a shirtless and handsome deckhand , salves his pique by lodging a petty complaint to Paula, only to witness the punitive results. Dimitry’s wife, Vera , making a spectacle of her egalitarian sympathies, tries to reverse roles by ordering a crew member to abandon her duties.
Only the fine cast lends life to the movie’s superficial caricatures, even if the hectic, blatant script edges the performances toward the clattery side and Östlund’s precise but stiff direction leaves little room for inventiveness. In particular, Berlin’s rendition of authoritarian cheer and Dolly de Leon’s steadfast assertiveness as a long-suffering staffer leave high-relief impressions.
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