Triangle of Sadness 4K 2022 Ultra HD 2160p

Story Movie

A couple of models, Karl and Yaya, go on a luxury yacht cruise in the company of rich passengers, where they meet a Russian businessman, a British arms manufacturer, and an IT genius. The ship's captain is a Marxist who is on a permanent binge. Everything goes on as usual: the guests rest, the staff work hard, the Russian businessman's wife gets weird. But soon an unexpected event will happen that will overturn the established order and force some to rethink their place and importance.

Review 4K Movie

When the Swede Ruben Östlund triumphantly won the Palme d'Or at the Cannes Film Festival in 2022 for his film The Triangle of Sadness, many expressed discontent - this filmmaker had been given the top prize only five years before for 'Square'. Someone new could have been awarded...

Maybe they could have. But in the end it's not Ruben Estlund's fault that nobody else can feel keen social problems and present them in a comic form.

'Triangle of Sadness' is the story of the interaction between very, very, very rich people and the yacht employees who serve them and do absolutely every whim. In addition to these two groups of people, the focus of the film is on two models - a handsome, young man and a girl who belong to neither group. They get on this yacht as part of a promotional contract, but they get exactly the same service as the other passengers.

From the beginning it was no secret that 'The Triangle of Sadness' is a satire whose plot unfolds around the wreck of a seagoing vessel and the passengers ending up on a deserted island. On the island, the social hierarchy quickly collapses as only one woman, a yacht toilet cleaner, proves capable of getting fire and food.

So Ruben Estlund's film will, on the one hand, prove predictable and in many ways ridiculous. But on the other hand, 'The Triangle of Sadness' is one of the brightest film projects of our time, honestly revealing to the audience the basics of the social structure in which we all live. The entire film is wrapped around one simple idea: We live in a corrupt world. We all easily sell ourselves for convenience and wealth... There seems to be nothing sensationally new or unexpected in this idea. But the true talent of the director is precisely in this - to put into cinematic images what is a boring philosophizing about life.

If you've seen Ruben Estlund's other films Quartet (where he dissected the 'culture' of modern society) and Force Majeure (where he dealt with the intra-family crisis), you'll enjoy Triangle of Sadness, because here the director has combined the themes of the relationship between people within couples and the relationship between people within large social groups. And he brought in the theme of material well-being, without which objectively any discussion of the social order is unthinkable.

'Triangle of Sadness' is not a timeless film, unlikely to be admired decades from now. But it subtly mocks and denounces the hypocrisy of our times. This is a time of widespread cries for the unacceptability of elitism, while those cries have absolutely no effect on the real state of affairs. And Ruben Estlund rightly asks us all in his film how we can replace elitism with egalitarianism if we all prefer nothing more than to conform to the status quo.

Like last year's Hollywood satire Don't Look Up, The Triangle of Sadness reveals the absurdity of today's rules of the world. We can delight ourselves by laughing at the characters in these films. But at the same time, these absurd characters are a painful reflection of ourselves, making us realize that all of us, regardless of our country or financial situation, are forced to live in an era of painful change and no one knows for sure whether it will lead to good or to even greater evil...

Like 'White Lotus', 'The Heirs', 'The Forgiven' and other projects about the unacceptability and imminent permissiveness of the over-privileged, 'The Triangle of Sadness' are films that speak of very global and fundamental problems of humanity. Few people are able to speak about these issues in the language of cinema, but Ruben Estlund has certainly succeeded in doing so.