‘Triangle of Sadness’ depicts a satire that I find interesting, entertaining, and alerting despite some plots there might not be the same as real life or you may even argue that it is way far from reality when there are too many exaggerations intentionally infused on the screen to catch our eyes.

Ruben Ostlund, the soul of ‘Triangle of Sadness’, has exerted himself to deliver the style of every character in his unique way making them each have a very special personality. Carl (Harris Dickinson), is a young man I especially want to label as ‘otaku’ despite some might not agree with me when they find he can appear so charming in appearance. Unable to exercise proper social skills with demeanor on a finishing dining table with a bill sitting there for quite a while, Carl can bluntly ask about the reason why his girlfriend Yaya (Charlbi Dean) doesn’t have an action, or at least an intention, to foot it when she said she will do so the previous night. We have reasons to believe that a gentleman won’t behave like that but an otaku or a man of stubborn principle takes delight in mentioning equality in front of a female when footing bills as Carl does. Amazingly, this creative prologue of these two young and charming models’ dinner dating arguments ascending to a kind of quarrel has captured our full attention and motivation in watching the following chapters when the crux of this couple’s argument is hinged on the different perspectives of genders role they respectively fiercely insist on.

The middle chapter of ‘Triangle of Sadness’ takes us on a yacht journey where there are many uber-wealthy people boarding on, of course, it has our Carl and Yaya. However; this couple of lovers cannot be as outstanding and important as they were in the first chapter. Ostlund, in this second act, deliberately depicts the wealthy in a rather caricature way rendering them a bit laughable or even derogatory instead of admirable as a pedestal having us to look up to. Doing so requires Ostlund to put up not a few exaggerations in the yacht’s plot and, he does deliver the goods – when – there is a scene of a crew of white staff, in a state of euphoria, chanting slogans to boost morale with the hope of getting more and more tips from the wealthy guests who will spend extravagantly and insanely if you can make them happy and contented. Next, there are some conversations interacting among the guests that tell us their wealth is generated from just making money rather than contribute goodness to the human universe. At last, a luxurious dinner invited by the captain (Woody Harrelson) to the guests, under a ferocious storm as an uninvited guest, furthers tears down the stratum of wealth making the haves and the have-nots the true equals when we can witness how embarrassed, pathetic, clumsy, helpless, incompetent, frightened and mainly inferior the haves are in facing adversity and life-and-death. It speaks volumes for the real equality of humans is the wealthy can by no means pretend to be noble or superior in facing the risk of death but be the same as the poverty. Such an idea has provided not a little comfort and glee to the ordinary and the poor.

When the final act of ‘Triangle of Sadness’ comes out, it has, only to be expected, driven us to a mood of craziness with it dominantly having the yacht ruthlessly destroyed by the storm and an attack with its wealthy guests scattering somewhere on some island seeking survival. Ostlund, finally, not only reiterates that the haves and the have-nots are the same when confronting life and death but also elaborately highlights nowadays’ males are less powerful and competent than in those days they were when today females are to change to be strong and daring in every way. When the ship worker (Dolly De Leon) loses no effort to find food in the sea to make survival, men are to wait without doing anything substantial, and when she successfully catches some fish and asks them if they know to set up a fire to cook them, all the men there reply nay leading to a subsequent feminism-like movement with she commands and controls everything there. It alerts nowadays’ men to maintain their gender role identity, warning them of females are growing powerful in every way and able to replace them anytime with control.

I suggest ‘Triangle of Sadness’ is a life lesson full of alerts despite some of the plots having exaggerated not a little in not a few ways. But I like it!