Triangle of Sadness

Carl, a model, attends an uncomfortable casting call with other male models. Carl is dating Yaya, a model and influencer, and resents her for expecting him to pay for meals even though she earns more than he does. They bicker about money and gender roles. Yaya admits that she is in a relationship with Carl for the engagement it earns them on social media, and that she seeks to become a trophy wife, but Carl declares that she will come to love him.

Carl and Yaya are invited on a luxury cruise aboard a superyacht in exchange for its social media promotion. Among the wealthy guests are the Russian oligarch Dimitry and his wife Vera; the elderly couple Clementine and Winston, who have made their fortune manufacturing grenades and other weapons; Therese, a wheelchair user only capable of speaking a single phrase in German following a stroke; and Jarmo, a lonely tech millionaire who flirts with Yaya. The guests luxuriate on the yacht, oblivious to the crew working to meet their every need and whim. The head of staff, Paula, demands they obey the guests' absurd requests, including having every crew member swim in the sea. The kitchen crew is ordered to swim as well, despite the chef warning that the food will go bad. Carl complains to Paula about a crew member whom Yaya finds attractive, inadvertently getting the man fired. Meanwhile, the yacht's captain, Thomas Smith, spends his time drunk in his cabin.

Paula gets Thomas to sober up and attend the captain's dinner as the yacht passes through a storm. Several guests become violently seasick, vomit or have diarrhea, possibly due to the food, and panic breaks out. The drunken Thomas and Dimitry debate in favor of communism and capitalism, respectively, over the intercom. Several guests are injured as the storm tosses the ship, the sewage floods, and the power goes out. When morning arrives, pirates attack, killing Clementine and Winston with a grenade and sinking the yacht.

A small group of survivors consisting of Carl, Yaya, Dimitry, Therese, Paula, Jarmo, ship's mechanic Nelson (whom Dimitry accuses of being a pirate), and cleaning woman Abigail manage to escape to an island. At first, Paula continues to order Abigail to serve the cruise guests. When it becomes clear that Abigail is the only one with survival skills, such as catching fish and starting a fire, she usurps command by withholding food. She gains her own private bed inside a lifeboat and coerces Carl into a sexual relationship by giving him food in exchange for sexual favors. Jarmo kills a wild donkey for food by smashing it with a rock, which Dimitry, Nelson and the others celebrate. Yaya grows jealous of Carl while he considers leaving her for Abigail.

When Yaya hikes to the other side of the island, Abigail volunteers to go with her despite Carl's concerns. They discover a beachside elevator and realize they have been stranded near a luxury resort. Back at the camp, Therese encounters a beach vendor but is unable to communicate her situation. Yaya celebrates finding the elevator, but Abigail hesitates to enter, fearing she is losing her power. She then prepares to attack Yaya with a rock, but hesitates when the oblivious Yaya offers to help Abigail get better work as her assistant. Elsewhere, Carl frantically runs through the jungle.

As of 9 July 2023, Triangle of Sadness has grossed $4.6 million in the United States and Canada, and $21.5 million in other territories, for a total worldwide gross of $26.1 million.[5] It sold over 2 million tickets in Europe.[26]

In the United States, Triangle of Sadness opened in 10 locations in Los Angeles, New York and San Francisco to a debut of $210,074, for a per theater average of $21,007.[27] In its second weekend, it grossed $657,051 on 31 screens.[28] In its third weekend, it grossed $600,000 on 280 screens, finishing tenth at the box office.[29] In its fourth weekend, it grossed $548,999 on 610 screens, dropping out of the box office top ten.[30]

On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 72% based on 262 reviews, with an average rating of 7.2/10. The site's critical consensus reads, "Triangle of Sadness lacks the sharp edges of Östlund's earlier work, but this blackly humorous swipe at the obscenely affluent has its own rewards."[31] On Metacritic, the film has a weighted average score of 63 out of 100, based on 47 critics, indicating "generally favorable reviews".[32]

Alysha Prasad of One Room With A View called it "Utterly unhinged in the best way possible, guaranteed to elicit enough laughter to make your stomach ache, while also leaving you with plenty to think about afterwards."[33] David Kaplan of Kaplan vs. Kaplan praised the ensemble cast as "completely compelling, even if some of the characters are unsavory."[34] Aaron Neuwirth of We Live Entertainment described it as containing "what’s likely the grossest set piece I’ve seen in a movie awarded the Palme d’Or at the Cannes Film Festival."[35] Gabi Zeitsman of Channel 24 (South Africa) commented, "if you loved White Lotus and satire aimed at the beautiful and rich, this is a definite must-watch. The fact that it won the Palme d'Or is in itself almost satirical..."[36] "Don't go in expecting art-house intellectualism," wrote Kyle Smith of the Wall Street Journal, "The movie is as loaded with fun as it is with social implications."[37] Paul Byrnes of the Sydney Morning Herald commented, "For Östlund, subtlety is overrated. Triangle of Sadness shows us why he has a point. It’s a spectacular demolition of modern life, a disruptor movie full of ideas and nuance, as violent in its way as a Pieter Bruegel painting."[38] Kevin Maher of The Times detected more nuance in the film, however, stating: "Yes, the metaphor can seem very on-the-nose: the super rich, in this economic climate especially, are obscene and repulsive! But it's a film of great subtlety (really) and benefits from multiple viewings."[39]

Richard Brody, in a critical review for The New Yorker, described Triangle of Sadness as "a movie of targeted demagogy that pitches its facile political stances to the preconceptions of the art-house audience; far from deepening those ideas or challenging those assumptions, it flatters the like-minded viewership while swaggering with the filmmaker’s presumption of freethinking, subversive audacity." Brody described Östlund's direction as "precise but stiff" and criticised the film's emphasis on social commentary: "[Östlund's] keen observations are submerged in his efforts at social criticism and political philosophy." However, Brody commended the cast performances—particularly Dean's, of which he wrote: "If nothing else, the movie would have assured her stardom; there’s no telling how many characters and films her death foreclosed before their conception."[40]

Armond White, in a critical review for National Review, talks about the substitution of concepts in Triangle of Sadness: "Östlund extends his Euro-Marxism into a second-rate allegory about third-world exploitation: An insulting subplot features the ship's Filipino toilet manager (Dolly De Leon) turning the tables on the rich, feckless whites, yet emulating their decadence (Parasite, Part II). Östlund bungles the political, spiritual, and moral lessons of such classics about chaos as Luis Buñuel's Exterminating Angel, Antonioni's L'Avventura, and Godard's Weekend. White sums up his review calling Östlund "just a misanthrope and a fraud."[41]