Celebrities and their appearance as untouchable rarities for social media fodder are turned on its head in Triangle of Sadness. Gluttony strikes through, their demented ability to coax millions into following them for the sake of being in front of a camera or clutching a microphone is stunning. The rise of the social media influencer is the biggest con of all, and while Triangle of Sadness does not fixate on that particularly, it is easy to apply the Ruben Östlund-directed message within to those that mark themselves as popular and not much more. Östlund’s work relies on a cliché here or a taxing understanding of the public image of the modelling world there, but the bulk of it does well to understand the broader strokes of an undeserved elitism.
Exposing that well are Harris Dickinson and the late Charlbi Dean, whose lead performances are stunning. They are great additions to the cast, with Östlund’s direction lingering on those silent moments in the back of cars to build up the dynamic between the pair. Throwing them onto, and then off of, a boat that features the likes of Woody Harrelson and Sunnyi Melles is as refreshing as it is exciting. To see the obvious counters of living life as literal models and influencers, the build-up is intense and very worth it. Östlund teases disaster around every turn and when it eventually, inevitably, throws itself at that carnage, Triangle of Sadness has earned its rite of passage as a critical-yet-simple act against wealth.
That broadly expressive act of poking fun and filtering anger toward those in positions of extreme wealth and popularity for no good reason is explored well throughout, and it comes at the right time. Östlund has consistently, whether or not his features are of actual intense and lasting merit, always managed to keep his finger on the pulse of what is to come next. Triangle of Sadness manipulates the wealthy people who likely lack the survival skills to endure in the forests and jungles. Eventually though these people, like everyone, strive for a clear route to and from power and the fallout of that gives a grand and welcoming rush through what it means to survive. Some are already surviving without the benefit of a social presence that gives them luxury yachts and champagne, some live on this edge day by day, and Östlund does well to remind the audience, teasingly, with that in mind.
As easy as it is to cast Triangle of Sadness aside as criticism and a well-rounded knockback at wealth and influence, it is also a ravaged look into the darker hearts of those placed in charge of their own survival. Something just clicks with Triangle of Sadness, the self-preservation of the wealthy and elderly, their self-reliance on not just getting their own way but having it wrapped up by others for them. Much of that is deep within Triangle of Sadness, a feature that shows the rise to power is not always the easiest or simplest path. Rebellion is the greater reward, Östlund seems to claim. Being thrown into the wilderness unlocks those primal instincts, of survival, of needing power on a potential return to civilisation.
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