Money and power in capitalist society - Triangle of Sadness - Marina's review

( Photos are courtesy of the Cannes Film Festival)

If in the 2014 an enormous wave was breaking all precarious pre-established balances (in the feature film Major force), here, eight years later, it is a storm in the open sea - with consequent shipwreck - to overturn roles and situations. It was written by Ruben Östlund. - formerly the Palme d'Or in Cannes in 2017 per The Square – he enjoyed unraveling every aspect and every bizarre habit of the capitalist world in his latest, irreverent feature film, Triangle of Sadness, in competition at the 75° edition of the Cannes Film Festival.

Yaya e Carl, therefore, are two models and influencers who, just after the end of Fashion Week, they are invited to take part in a cruise on a luxury yacht. During a dinner with the ship's captain (played by Woody Harrelson) a storm breaks loose, panic is rampant among passengers e, the following morning, the survivors find themselves on a desert island. It will be here, therefore, that the class differences will be canceled, the money will no longer have any value and the roles will be reversed. What all this will lead to?

Divided into three chapters, Triangle of Sadness analyzes under the microscope - in a rather merciless way - every single aspect of the human soul related to the desire for money and success. Yaya and Carl are young, belli, they have a large following and their success mainly depends on the number of their followers. On them, at first, the director concentrates all his attention in a funny curtain that takes place in a luxury restaurant, when paying the bill. From that moment on, the film - with the exception of a few extra lengths concerning above all the chapter in which the protagonists and their travel companions are on the island - the film is all in crescendo and, through a series of hilarious situations bordering on paradoxical (among which, above all, dinner on the ship, dove, due to seasickness, they all end up throwing up everywhere) he analyzes under the microscope roles and ideologies within a society in which only the God of Money seems to have power over everything.

Ruben Östlund has no mercy on anything or anyone and in a work in which none of the protagonists are really spotless, ready as he is to sell himself and what he cares about in order to have his own advantage, she looks fitter than ever. His Triangle of Sadness is a pleasant surprise within the selection of Cannes75. A political film, provocative and wonderfully crazy arrived on the screens of the Croisette like a pleasant breath of fresh air.

marina fears