Watch: Triangle of Sadness 2022 123movies, Full Movie Online – A fashion model celebrity couple join an eventful cruise for the super-rich..
Plot: A celebrity model couple are invited on a luxury cruise for the uber-rich, helmed by an unhinged captain. What first appeared Instagrammable ends catastrophically, leaving the survivors stranded on a desert island and fighting for survival.
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|7.9/10 Votes: 16,608|
|69% | RottenTomatoes|
|63/100 | MetaCritic|
|N/A Votes: 389 Popularity: 80.871 | TMDB|
sketched, never completed
Looks like the director/writer had some notes, and didn’t get around to write a complete script. So the movie starts out very promising, but then gradually runs out of ideas, until the last half is just ticking off the boxes of expected items.
The quirky, funny look into modelling is followed by a well cast and (in some moments) acted part about relationship issues between inexperienced, clueless, and selfish people.
We learn that the naïve male model is actually in love, while his female model/influencer counterpart tells him he’s nice entertainment until she finds a rich guy to be trophy wife for. This doesn’t deter him… and that was the promising bit.
Next, they are on a luxury yacht for the decadents; and there is still potential for a really good story: the upstairs/downstairs angle is only implemented in a few scenes, most screen time of this part is spent on lavish dining with icky “haute cuisine” food in rough seas, and the consequences thereof.
That was when the really good part could’ve started: how to they meet or avoid gazes the next day, the day after? What has changed, how, what shouldn’t and how do class barriers break?
Instead, we get a clownish intermezzo and next, the boring island section. This part is just tedious agitprop, reducing the (already shallow) characters to templates, and doing all the expected bits. Waste of time, talent, and a nice beach.
For some reason, people are so content with half-baked products these days, you can even win prizes this way. 5/10, there’s better ways to waste time, but this isn’t the worst either.
I did quite enjoy this, but it’s far too long and I found that the funniest bits had all already been seen in the trails! Initially, it centres around the fairly tempestuous relationship between models “Carl” (Harris Dickinson) and “Yaya” (Charlbi Dean). The latter is an influencer who looks at their relationship as something more transient; he is much more besotted – and so vows to make her fall in enduring love with him. Off onto a luxury yacht they head for an holiday with a few millionaires run by the super-officious “Paula” (Vicki Berlin) and captained by the dipsomaniac Woody Harrelson. The two befriend the lively and charismatic Russian oligarch “Dimitry” (Zlatlo Buric) and his wife “Vera” (Sunnyi Melles) before a captain’s dinner that the choppy seas ensure ends in a messy and entertaining disaster! The remainder of their adventure has something of the “Admirable Crichton” to it, as they must adapt to the command of their erstwhile toilet cleaner “Abigail” (Dolly De Leon) who exacts her own unique sort of fees from her erstwhile patrons in return for catching fish and lighting fires… It does take a ping at the vacuousness of the modelling industry and at the unscrupulousness of big business – best exemplified in one scene with Oliver Ford Davies and Amanda Walker as the demure Brits who made their fortune selling “the greatest single contribution to democracy” (hand grenades!). Sadly, though, the moments of humour are relatively short and sweet when put into the context of this lengthy and frequently rather dull enterprise. Dickinson looks great shirtless, but as an actor he has limitations and I didn’t really feel much chemistry between him and, well, anyone else. The last half hour could have been better, funnier, had there been a slight sense of menace – but somehow I just knew that the ending was going to deliver they way it does. Buric adds value, as does Henrik Dorsin’s gazillionaire “Jarmo” but by half way through the joke had worn too thin to sustain it and I was a little bored. Doesn’t need a big screen, and co-produced by the BBC I expect it can wait for Christmas television for most of us.
Deeper than it seems
At its top layer, “Triangle of sadness” is a skillfully harsh comedy/parody, proudly absurd with a good dose of “cringe” in each of its 3 parts. Yes, it’s funny and yes it’s rude and over the top, but how else could it be since it tries to point a finger at our contemporary society?
If you follow the path that Östlund opens up for you, you might notice that beneath the strangely entertaining package the director tires to bring to light weakness found in aparent strength and not only this, but he also implies that no matter how much you try to “strip” people of their social shell, deep inside they can never really change.
Absolutely recommended and definitely worth the Palme d’Or it got this year!
Triangle of Sadness (or Sans Filtre) is most likely the best film Ruben Östlund has ever made. I say “most likely” because I’m actually a bit behind on this director, having only seen The Square when I was analyzing its screenplay for my degree project in 2019, ergo I couldn’t take in its twisted satire or defiant imagery the way I would’ve liked.
Now, the Swedish legend takes his signature vibe — pungent uneasiness that soon transitions into abject chaos — out to sea. And let me tell you, if Titanic had involved a thundering storm instead of an iceberg and if instead of two young lovers trading sweet clichés we got copious cavalcades of sh-t and vomit, I’d get the hype a lot more.
A multinational production, the cast is rich and hails from all over the world. We first join two models, Carl (Harris Dickinson) and his more successful influencer girlfriend Yaya (the late Charlbi Dean), working in the modern fashion industry — which is realistically depicted but subtly-yet-bitingly satirical like only Östlund knows how (here taking a few jabs at performative equality; companies boasting the DEI of their models who are all shaped about the same).
As they’re invited to a luxury superyacht cruise along what seems to be the East African coast, we meet a multitude of other characters, including Woody Harrelson as the drunken ship’s captain, Vicki Bergen as the head of staff, Dolly De Leon as a Filipino cleaning lady who becomes important later, and Zlatko Buric as a Russian oligarch. Between this and 2012, I conclude that “boisterous Russian billionaire” was simply the role Buric was born to play.
For me (and my fellow Swedish viewers, no doubt), it was especially fun to see revue legend Henrik Dorsin as a lonesome Swedish millionaire. He just has a perfect face and demeanor for comedy — even the very first shot of him as a dejected, pudgy middle-aged man sitting by himself made me and my theater company laugh.
The main attraction in Triangle of Sadness is of course the Captain’s Dinner scene, and even if you don’t know what’s about to happen, you’ll suspect it from the start. The film builds it up perfectly; from the subtle tilt of the actors and props, showing the constant (and slowly increasing) instability of the yacht as the seas grow rougher, to the more and more noticeable ways in which the expressions and body language show onsetting nausea, everything flawlessly rises to when Hell at Sea is finally unleashed and all the pratfalls, emeses, and even diarrhea are so convincing I almost believed Östlund must have force-fed his crew ipecac and laxatives.
Of course, on top of being a grade-A example of escalatingly chaotic cringe comedy, its setting and characters allow plentiful commentary about billionaires, the industries that get them rich, and the very system that allows some human beings to have that much more than others in the first place. Even during the big “barfing section”, these ideas appear — more explicitly than ever, in fact. (The captain and the oligarch, being the only two who don’t get seasick, stay behind in the dining hall to get piss-drunk and trade anti-capitalist vs. Anti-communist arguments, quotes, and platitudes, which they then start belting out over the intercom as they become friends and lock themselves inside the captain’s office — whilst the still panic-stricken passengers and crew are forced to listen as they soak in vomit and overflowing septic water.)
By circumstances I won’t reveal (though I will say that they involve one of the most beautifully poetic and f-cked-up instances of “Hoist by His Own Petard” I have ever seen), a few of the characters wind up on a deserted island where all notions of social/class hierarchy have ceased to apply. This section of the film will be even more satisfying to some viewers (particularly those of a socialist persuasion), as the rich are robbed of their abundance and must subsist on base needs like everyone else.
But there is yet another layer: stripped of all their belongings, convinced that everyone is now equal and can distribute their resources in terms of need, the tiny society they form soon evolves to a point whereby it starts to resemble a prototype of the very system it sought to destroy. What this implies, I leave for you to decide.
The final shot of the film also invites much speculation. Where is our hero running? We can tell — through basic cinematic language, as my companion pointed out — that he must be pursuing the characters we saw leave earlier (he’s running from the left side of the screen to the right, just as we see the others do throughout their hike) but what has happened? Does he know what the others discovered? Did that one character do what she appeared to be doing to the other character once they reached their goal, and if so, is our hero running because he fears the worst or because he was in on the plot? Or can it be so simple that he has been alerted of the salvation that awaits?
Triangle of Sadness is outstanding. My only complaints are minor, including a few character moments that don’t make sense — and can’t really be explained away by in-text stupidity — as well as exactly one CGI donkey that doesn’t look great. Still, this is the best time I’ve had in a movie theater in a long time, as is so often the case when the attendees are offered puke bags and at least one viewer is forced to leave the auditorium for some air.
At the screening I attended (and likely all other screenings in my country), the film was preceded by a short snippet of Östlund showing off the Palme D’Or he received at Cannes in May, where he also garnered a standing ovation of eight minutes. Normally, I’d find that sort of thing a tad pretentious, but Östlund seems like a genuine man and, Hell, when it’s a filmmaker from my country, I can’t help but develop a sports-team mentality of sorts. Suck on that, Denmark. (I kid, I thought the Riget: Exodus was also really good.)
Original Language en
Runtime 2 hr 27 min (147 min)
Genre Comedy, Drama
Director Ruben Östlund
Writer Ruben Östlund
Actors Harris Dickinson, Charlbi Dean, Woody Harrelson
Country Sweden, France, United Kingdom, Germany, Turkey, Greece
Awards 3 wins & 7 nominations
Production Company N/A
Sound Mix N/A
Aspect Ratio 1.78 : 1 (one scene), 2.35 : 1
Camera ARRI Alexa Mini and Zeiss Supreme Primes
Film Length N/A
Negative Format N/A
Cinematographic Process ARRIRAW (3.4K) (source format), Digital Intermediate (4K) (master format)
Printed Film Format DCP Digital Cinema Package