The titular Triangle Of Sadness in previous Palme D’Or winner Ruben Ostlund’s current Cannes competition entry, we’re told, is the small space between the eyebrows and the bridge of the nose where …
’s current Cannes competition entry, we’re told, is the small space between the eyebrows and the bridge of the nose where nasty, aging lines register an accumulation of inconvenient emotions that, quite frankly, don’t sell a suit on the catwalk. “Do you think he needs Botox?,” mutters a model casting agent as Carl — who, being on the wrong side of 20, should worry — struts his stuff.
is a mission statement about equality: that it doesn’t exist, that it cannot exist, that while calamity may bring the downfall of the top dogs, new curs will replace them and behave in exactly the same way. Ostlund’s Palme winnerwas certainly hard on its characters; a sharp satire of the art world, it scratched away at the contradictions between the genial left-wing pieties of the cultural establishment and its reliance on unsavory capitalism for funds.
Next level down the food chain is the crew. Chief steward Paula gives high-rev talks to her bright, white young staff, telling them to keep smiling and always say yes. Paula effectively runs the show while the captain refuses to leave his cabin, where he listens to the Red Army choir singing theand self-medicates. When he finally emerges, he is leaning like the Tower of Pisa.
Then there are the people below decks, who keep the boat moving and elaborate meals zipping up to the dining room. They’re all brown. When a storm comes and the guests start a volley of criss-crossing projectile vomiting — a gross-out comic scene that makes anything in Judd Apatow’s portfolio look maidenly — the brown people clean that up too.
Being stranded on a deserted island: it’s one of the founding myths of Western literature. It can be about finding bliss (
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