Until watching the movie TRIANGLE OF SADNESS (Ruben Östlund, 2022), I had no idea that the area above the nose and between the eyebrows was designated as such in the world of fashion. Although two of the film's protagonists represent models and the particularities to which they are subjected, it is clear that the choice of this title (quite a happy one, in my opinion) surpasses this understanding, because the idea of a trilogy contained in this expression serves the author's purpose.
Throughout the film, we get the feeling that the director is constantly teasing us and playing with us, in a satirical comedy based on two levels of social criticism, a more immediate one, related to various dichotomies, such as rich and poor, upper and lower class, form and content, socialism and capitalism, in short, some of the dominant polarizations in the world today, with emphasis on the discussion between the commander (socialism) and the Russian oligarch (capitalism), whose argument goes no further than some decontextualized quotes thrown at random, as any of us are tired of seeing on Facebook, which reflects the emptiness of ideas and the lack of critical spirit as signs of the times. Furthermore, it becomes clear that defending an ideal is not synonymous of putting it into practice, and that same ideal easily succumbs to an unfavorable context for its application.
As the plot moves towards the end of the 2nd part, and especially in the 3rd part, we realize that there is a veiled criticism, and therefore more corrosive and profound, to the volatility of the human being. Such volatility leads humans to contradictory and reprehensible attitudes, but also to gestures of generosity and adaptability, it all depends on how each one reacts in a limit situation and what they can contribute to mitigating that situation. The social position and perspective of each one are turned inside out, bringing out what worth as people and not everyone does well in the test.
Throughout the film, we get the feeling that the director is constantly teasing us and playing with us, in a satirical comedy based on two levels of social criticism, a more immediate one, related to various dichotomies, such as rich and poor, upper and lower class, form and content, socialism and capitalism, in short, some of the dominant polarizations in the world today, with emphasis on the discussion between the commander (socialism) and the Russian oligarch (capitalism), whose argument goes no further than some decontextualized quotes thrown at random, as any of us are tired of seeing on Facebook, which reflects the emptiness of ideas and the lack of critical spirit as signs of the times. Furthermore, it becomes clear that defending an ideal is not synonymous of putting it into practice, and that same ideal easily succumbs to an unfavorable context for its application.
As the plot moves towards the end of the 2nd part, and especially in the 3rd part, we realize that there is a veiled criticism, and therefore more corrosive and profound, to the volatility of the human being. Such volatility leads humans to contradictory and reprehensible attitudes, but also to gestures of generosity and adaptability, it all depends on how each one reacts in a limit situation and what they can contribute to mitigating that situation. The social position and perspective of each one are turned inside out, bringing out what worth as people and not everyone does well in the test.