Low expectations are not a bad thing. I should like Ruben Östlund’s films as they provide an often unflinching look at social and personal failings and walk the fine line between drama and satire.

I’ve so far felt a little underwhelmed by his films. Force Majeure (2014) (and not the Will Ferrell remake Downhill) kept me engrossed albeit with a power nap in its slow, quiet centre, until it’s unexpectedly prosaic ending. The Square (2017) had a great premise and Elizabeth Moss, but laboured its message and didn’t fulfil the promise of its premise.

Triangle of Sadness doesn’t hide its satire and that it divided audiences at MIFF had me cautious yet hopeful. Its opening sequence – where an overly important journalist interviews male models vying for a fashion job – has sparked a trend in my family when taking photos – Balenciaga! H&M! – and introduces central character, Carl (Harris Dickinson).

He is the best one at the Balenciaga scowl and when we meet his social media influencer and model girlfriend, Yaya (a luminous Charlbi Dean), we understand the vapidity of their (and their generation’s?) lives. The scene where they argue over who pays their restaurant bill creates a dynamic that echoes throughout the story.

The second act sees them on a luxury yacht – one of the perks of influencing – and we watch the hierarchy of the ship. If you’ve ever watched the reality TV series Below Decks, you’ll know it – invisible crew who scrub and cook and keep the engines running and are mostly people of colour, the white skinned and uniformed staff who interact with guests and can expect generous gratuities, and the overly entitled guests who expect to have every whim met.

Russian multimillionaire Dimitry (Zlatko Buric) and his wife Vera (Sunnyi Melles) and daughter, or perhaps mistress, Ludmilla (Carolina Gynning), have Nutella flown in especially by helicopter and dropped into the ocean so it can accompany their fine dining provided by the head chef. Clementine (Amanda Walker) and Winston (Oliver Ford Davies) are twinkly-eyed arms dealers. In contrast, perhaps just to set up a joke, Woody Harrelson plays the perennially drunk and bilious captain and American Marxist ‘forced’ to subvert his principles on a luxury yacht.

Where Triangle divided audiences is perhaps in its central scene where bad weather and bad food caused by virus or caprice results in projectile vomiting and a literal shit storm as the wealthy clientele are cut down to size. It’s not as indulgent as it could be, but unapologetically humiliates the wealthy, likening them to refugees as they clutch their lifejackets.

There is a surprise third act where the hierarchy is upended and this provides some very satisfying character arcs. It reminded me of Chevalier (2015), albeit as if sketched out with crayons.

It’s enigmatic ending will frustrate many but suited me and I would happily watch this again.

Image via miff.com.au

---

Have you seen this film? Let me know your thoughts in the comments below.