Triangle of Sadness (2022)
Directed by Ruben Östlund
A celebrity model couple are invited on a luxury cruise for the uber-rich, helmed by an unhinged, alcoholic captain. What first appears Instagrammable ends catastrophically, leaving the survivors stranded on a desert island in a struggle of hierarchy.
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What critics say influenced Triangle of Sadness
…the greatest torrent of barf onscreen since Monty Python’s The Meaning of Life ensues…
…would make Monty Python’s Mr Creosote blush…
One of the latter — The Meaning of Life’s Mr. Creosote — could be the inspiration for the orgy of bodily fluids that eventually follows, though the Monty Python sequence had the good sense to last for a few minutes…
In Östlund’s mind, it would look like the Mr. Creosote sketch in Monty Python’s The Meaning of Life.
Östlund’s flair for on-the-nose comedy reaches a zenith on a stormy night at sea, when a shellfish dinner goes awry and cues the largest volume of bodily fluids depicted on screen this side of Monty Python’s The Meaning Of Life (1983).
…con un approccio satirico che raggiunge l’apice in una scena, già mitica dopo le prime proiezioni a Cannes, di conati di vomito che non hanno nulla da invidiare al celebre Mr. Creosote di montypythoniana memoria.
Līdzīgi kā filmā “Titāniks”, arī te redzama klašu un kārtu atšķirība.
Östlund non ci farà mancare niente su questo Titanic simbolico che verrà devastato…
Una sarta de hits del verano se encadena como fondo musical del Titanic de Ruben Östlund.
During this act, Östlund keeps the camera mostly static and in medium-wide shots, slowly building tension and mixing influences from everything from "Titanic" to "Parasite" and Jordan Peele's "Us" for chaotic and delightfully gross results.
But it’s clear Harrelson took the role so that he could shine during a very “this is the Titanic sinking” part of the movie…
…it’s surprising we don’t see more films that take place abroad them (yes yes, fine, Titanic counts, I suppose)…
Tras un prólogo criticando el mundo de la moda que quizá llega demasiado tarde –Zoolander lo hizo mejor hace veinte años-, Östlund se mete de lleno en lo que más le gusta, voltear las jerarquías y jugar con el poder que unos personajes ejercen sobre otros.
Triangle of Sadness è diviso in 3 parti precedute da un prologo che, come detto, è una scena in cui tanti modelli si contendono il privilegio di diventare volto di una pubblicità e, in qualche istante, sembra di precipitare in Zoolander .
This wild ride starts like an art-house remake of Zoolander (2001)…
Ein gewisses Echo von The Devil Wears Prada bis Zoolander lässt sich da nicht vermeiden.
Compared to the viciousness of this year’s The Menu, Triangle of Sadness is not as scathing as it wants to be.
The word ‘satire’ originally came from a Latin expression (lanx satura) for a dish full of various foods, and like Mark Mylod’s The Menu (2022), Triangle of Sadness serves up a cornucopia of bite-size – and biting – tasters.
In a period defined by sardonic, tongue-in-cheek critiques of society (such as The Menu), Triangle of Sadness fit right in.
The one-percent takedowns prove as decadent as the meals served in “The Menu.”
It’s a theme that resonates in the upcoming movie ‘The Menu,’…
…like Mark Mylod’s The Menu, Triangle of Sadness serves up a cornucopia of bite-size – and biting – tasters…
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…to Gilligan’s Island…
It’s best going into act three without knowing too much, so I’ll just leave it at this: Parasite meets “Gilligan’s Island.”
The film plays like a mash-up of Lina Wertmüller's "Swept Away" and Michael Winterbottom's "Greed" by way of ‘Gilligan’s Island.’
…it’s like a class-war version of Gilligan’s Island, with a good deal more gross-out humour and human cruelty than that show ever supplied…
…auf der das junge Protagonisten-Paar Yaya (Charlbi Dean) und Carl (Harris Dickinson) zu Gilligan’s Island aufbricht…
Triangle of Sadness is a clunkier Parasite. Both films seek to critique the chasm between the rich and the poor and show how out of touch the wealthiest people are when it comes to the most basic of tasks.
In this particular scene, there is something very Parasite-esque about the filming, designed to accent that beneath every “low” class is still an even lower one doing far more grunt (read: bitch) work.
During this act, Östlund keeps the camera mostly static and in medium-wide shots, slowly building tension and mixing influences from everything from "Titanic" to "Parasite" and Jordan Peele's "Us" for chaotic and delightfully gross results.
Se restando a tempi recenti può venire in mente Parasite (che però per tono e messa in scena non c’entra davvero nulla)…
It’s best going into act three without knowing too much, so I’ll just leave it at this: Parasite meets “Gilligan’s Island.”
Während in "The Square" der Kunstbetrieb beleuchtet wurde, ist es hier zunächst der Fashion- und Konsum-Kosmos, in dem sich die Hauptfiguren Carl und Yaya als Model beziehungsweise Influencerin bewegen.
Dopo i nababbi snob del mondo dell’arte di The Square, tocca a due nuovi tipi di benestanti che popolano il lussuoso yacht da crociera dove si svolgerà buona parte della vicenda.
…funktioniert die Kunstsatire „The Square“ vor allem als lose Sammlung von Momenten, die sich oft weit von der eigentlichen Hauptfigur entfernen.
Both the film’s supporters and detractors alike will recognize Östlund’s penchant for cringe comedy, here embellished with a schadenfreude on par with that dinner sequence in The Square.
If you loved The Square, then you’ll love this.
If part one is a continuation of the themes of postfeminist masculinity from "Force Majure," then this is the logical follow-up to how "The Square" explored the inaccessible and obscene world of class and privilege.
…most strongly, in Mike White’s ‘The White Lotus,’ which starts its second season on HBO on Sunday.
The “chic” emphasis of late on how much rich people fucking blow (see also: The White Lotus, Hellraiser, Bodies Bodies Bodies) has been crystallized at perhaps its finest in Ruben Östlund’s latest film, Triangle of Sadness…
Anyone familiar with Luis Buñuel – hell, anyone who has watched Succession or The White Lotus on HBO – already has a pretty good idea about what it has to say.
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There are certain Jackass-esque sequences that really make you pause between laughs and ask yourself, “How did they film this?”
The scene is halfway between Monty Python and Jackass…
It’s a madhouse sequence which plays like Pasolini’s version of The Poseidon Adventure (1972), and hits a zenith the remainder of the film doesn’t quite reach.