Synopsis
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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Cast
- Harris DickinsonCarl
- Charlbi DeanYaya
- Woody HarrelsonThomas, The Captain
- Zlatko BurićDimitry
- Vicki BerlinPaula
- Dolly de LeonAbigail
- Henrik DorsinJarmo
- Iris BerbenTherese
- Jean-Christophe FollyNelson
- Amanda WalkerClementine
Recommendations
- 100
The Telegraph
The points of Östlund’s Triangle are far from subtle. Vanity is toxic; fortunes corrupt; everyone loves to see an Instagrammer getting their comeuppance. But across its well-earned two-and-a-half-hour running time, epic schadenfreude keeps edging into genuine sympathy, and we feel just sorry enough for these awful people for the next humiliation to sting just as hard. - 80
Slashfilm
Tringle of Sadness is an utterly hilarious satire told in three acts, each more ludicrous than the last. - 80
Time Out
For the majority of the film, Östlund’s combination of sledgehammer and scalpel work a treat. They’re fast becoming the hallmarks of a satirist who’s unlikely to run short of subject matter any time soon. - 80
Total Film
The director of The Square gives a new shape a whirl with hilarious, scathing and sometimes jaw-dropping results. - 61
Vanity Fair
Triangle of Sadness needn’t be a fair film, nor one that readily delivers the simple righteousness of have-nots triumphing over have-lots. A more carefully shaped argument would have been appreciated, though. And one that didn’t dissolve so quickly into a juvenile snicker. - 58
IndieWire
The only thing Östlund’s po-faced characters can’t afford is to recognize the absurdity inherent to their lives, and so the movie keeps our response muted to a low chuckle, as if anything louder might reach the people on screen and cause the whole charade to fall apart. - 50
Screen Daily
There are flashes of the incisive, caustic insight of his Force Majeure and Palme d’Or-winning art-world satire The Square. But this rather laborious take on the excesses of capitalism, depicted as a luxury yacht headed inexorably for farcical disaster, lacks the pitiless ironic cool that made those two films so memorable. - 42
The Playlist
In the past, Östlund has shown a deft facility in sending up meaty topics, applying granular attention to male ego in “Force Majeure” and art-world pretensions with “The Square.” Here, however, he stoops to the broadness ascribed to his work by its harshest critics, now more parody of himself than parodist.
