Cinema: When social order collapses

Ruben Östlund is a filmmaker with a mission: to dynamite the structures of a well-meaning and comfortable society, based on privilege. And nobody dynamites with flowers or subtleties. Östlund uses heavy explosives.

Em Força MaiorIn this film, a family's unity on vacation in the French Alps is shaken after an avalanche, and the husband sees his role as patriarch compromised. The Square - The Art of DiscordA contemporary art curator finds himself grappling with a series of devastating setbacks.

Triangle of Sadness (Triangle of SadnessThis is yet another of his bombshells, this time bringing to the forefront class arrogance, gender warfare, ideological dissension, and the frivolities of the fashion world and self-exposure. The film, like The SquareIt won the Palme d'Or at Cannes, but international critics were not sparing in their criticism of the Swedish director's heavy-handed approach.

Indeed, even more so than in his two films mentioned here, Östlund now deals with even more blatant stereotypes. The model couple Carl (Harris Dickinson) and Yaya (Charlbi Dean, a beautiful actress who passed away last August) are introduced to us in an endless discussion about money and gender conventions. Invited on a luxury cruise alongside billionaires of various nationalities, they will soon share the spotlight with an exotic fauna of passengers and employees.

The captain (Woody Harrelson), an American, calls himself a "shit socialist"...and engages in a duel of quotes with a Russian magnate (Zlatko Buric), a true capitalist pig. The rich are manufacturers of weapons, fertilizers, application codes, and so on. When the ship starts rocking too much and scatological chaos ensues, dinner continues to be served and no one gives up their privileges and exclusive rights."

The östlundian explosion finally materializes, and the third act takes place on a deserted island with the few survivors. The new situation leads to a reversal of social roles and the establishment of a matriarchy to ensure the group's survival. Possessions, as values ​​and power, give way to the practical skills of each individual. The slogan "We Are All Equal," proclaimed in the demagogic campaign, is reflected in this narrative. fashion, it gains a biting reinterpretation in terms of class and gender.

As you can see, it's nothing very original. Triangle of Sadness It invests in a relatively easy social caricature. The script moves forward in fits and starts, without a well-crafted dramatic structure. But it's undeniable that it cathartically entertains with the hell of the super-rich and their attempts to buy the world and people. Not that there are any virtues left for the poorest. After all, according to Ruben Östlund's relentless doctrine, human nature speaks loudest when the laws that separate servants and served fall apart.

The trailer: