movie review the triangle of sadness

‘Triangle of Sadness’ Review: Ruben Östlund’s Latest Satire Puts Privilege Through the Wringer

Palme d'Or winner Ruben Östlund expands on the formula that worked in 'The Square,' orchestrating absurdist situations that make rich folks squirm.

By Peter Debruge

Peter Debruge

Chief Film Critic

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The closer you look at the subject of beauty, the uglier it appears. Meanwhile, wealth is obscene from practically every angle. Irreverent Swedish satirist Ruben Östlund gets right up in there, probing the pores of the elitist worlds of supermodels and the mega-rich in “ Triangle of Sadness ,” which takes its name from a fashion-world term for the deep-V crease that appears between one’s eyebrows with stress or age. Nothing a little Botox can’t fix.

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“Triangle’s” appropriately shallow protagonists are social media influencers Carl and Yaya (essentially, professional selfie-takers who share photos of themselves pretending to enjoy whatever swag they’re offered), played by Harris Dickinson and Charlbi Dean. The pair can’t seem to decide whether they’re really a couple or just fine with acting like one to gain a few extra followers online. In any case, they bicker like soon-to-be-ex-lovers, which seems as good a definition for their situation as any.

Östlund opens the film on land, behind the scenes of a fashion shoot, where a documentary crew introduces a few basic concepts, like the way luxury brands look down on their consumers. In its patently superficial, undeniably absurd focus on looks over substance, this sector makes for an easy target. Still, Östlund seems to be operating on an early-2000s critique of that sector — which is fine, but a bit behind the times. Where do influencers fit into this, one wonders? Just when the public thinks it’s figured out the fashion world’s tricks, the industry adapts.

It would be a lot more daring to confront the way these trendsetters and tastemakers are grappling with a public that’s started to tell them what they think is beautiful — basically, all the traits that were once bullied in schoolyards: redheads and freckles, Kardashian curves and people of color, pretty boys and flat-chested girls. In a world of Instagram filters and affordable cosmetic procedures, “perfection” comes easy. Personality, it turns out, is harder to come by.

It’s interesting that Östlund cast Dean, who makes no attempt to hide the scar on her abdomen, and Dickinson, who brings a kind of fragile vulnerability to the Abercrombie frat-boy type (having played bi in “Beach Rats”). Throughout the opening act, Östlund observes these two trying to negotiate their unconventional relationship, bickering over the smallest things. Aboard the cruise, Carl gets jealous when a member of the crew takes off his shirt. Yaya seems turned on by the carpet of hair that covers the man’s chest and back — the opposite of the depilated Ken-doll aesthetic expected of Carl and his fellow models. He complains to the ship’s chief stew, Paula (Vicki Berlin), and the guy is sent packing.

The first half of “Triangle of Sadness” is constructed mostly of such interactions: scenes in which the characters flex their power relative to one another. Filthy-rich Russian fertilizer magnate Dimitriy (Zlatko Burić) offers to buy the boat out from under the captain (Woody Harrelson, whose ridiculous character spends much of the film drunk in his cabin), while his wife Vera (Sunnyi Melles) insists, “We are all equals,” ordering the crew to abandon their responsibilities and join her for a swim. When confronted with such wealth, the word no is not in their vocabulary.

The last third of the film focuses on a subset of the passengers and crew, who wash up on an island and quickly realize that none of them has the skills to last even a few days in the wild. Then a lifeboat arrives with one of the crew, Abigail (Dolly De Leon). On board, she was a mere toilet manager, but Abigail knows how to cook and fish, which makes her the leader of their new makeshift society. Up to this point, the characters have behaved in exaggerated yet recognizable ways, but now, Östlund pushes them into hypothetical territory, effectively illustrating his own beliefs about human nature.

These castaways have nothing useful to offer, apart from Carl, who’s handsome, which sets up a barter system — food and shelter for sexual favors — that audiences wouldn’t stand for if the gender roles were reversed. An hour earlier, Carl was browsing $25,000 engagement rings to offer Yaya. Now, he’s trading back massages for pretzel sticks. It’s funny, but it’s cruel. By the time the film reaches its womp-womp ending, anyone who formed any kind of attachment to this couple will find the words “triangle of sadness” to be a more than apt description of these characters’ new dynamic.

The thing about Östlund is that he makes you laugh, but he also makes you think. There’s a meticulous precision to the way he constructs, blocks and executes scenes — a kind of agonizing unease, amplified by awkward silences or an unwelcome fly buzzing between characters struggling to communicate. First “The Square,” then “Triangle.” No matter what sphere he tackles, we’re bound to see the world differently.

Reviewed at Club de l'Etoile, Paris, May 13, 2022. In Cannes Film Festival (Competition). Running time: 149 MIN.

• Production: (Sweden-France-U.K.-Germany) An Imperative Entertainment presentation, in association with Film i Väst, BBC Films, 30 West, of a Platform Prod. production, in co-production with Essential Films, Coproduction Office, Sveriges Television, ZDF/ARTE, ARTE France Cinéma, TRT Sinema, with the support of Svenska Filminstitutet, Eurimages - Council of Europe, Medienboard Berlin-Brandenburg, the Danish Film Insitute, MOIN - Film Fund Hamburg Schleswig-Holstein, BFI, with the participation of Nordisk Film & TV Fond, ARTE France, DR, Canal+, Ciné+, in association with Heretic, Bord Cadre Films, Sovereign Films, Piano. (World sales: Coproduction Office, Paris.) Producers: Erik Hemmendorff, Philippe Bober.
• Crew: Diretor, writer: Ruben Östlund. Camera: Fredrik Wenzel. Editors: Ruben Östlund, Mikel Cee Karlsson.
• With: Harris Dickinson, Charlbi Dean, Woody Harrelson, Vicki Berlin, Henrik Dorsin, Zlatko Burić, Jean-Christophe Folly, Iris Berben, Dolly De Leon, Sunnyi Melles, Amanda Walker, Oliver Ford Davies, Arvin Kananian, Carolina Gynning, Ralph Schicha.

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Triangle of sadness review: a sharp, deranged & beautifully hilarious satire.

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"Can you relax your triangle of sadness?" a casting agent asks Carl in the opening moments of Ruben Östlund's Palme d'Or-winning film. Carl is at a casting call for a so-called "grumpy brand," one where its models can look down on their consumers. Someone filming the models makes them switch from their Balenciaga faces to H&M faces, a slight frown and a furrowed brow turned to a slash of pearly white teeth and dimples. Written by Östlund, whose film The Square also won the Palme, Triangle of Sadness is a visceral and scathingly hilarious takedown of models, influencers, and wealth hoarders and while it threatens to buckle under its lofty ambitions, its three-act story becomes the most deranged episode of Below Deck Bravo wishes they could have produced.

Triangle of Sadness begins with Carl (Harris Dickinson) and Yaya (Charlbi Dean) navigating the world of high-end fashion and social media influence . They bicker over who is paying the check ( "Should I take out my little calculator and tap tap tap?" asks Yaya before her card is declined), but they come together under the guise of an honest conversation, which is more of an excuse for them to throw barbs at each other and examine the power dynamics at play in their relationship. Eventually, they end up on a $250 million luxury yacht cruise, captained by self-proclaimed Marxist Thomas Smith (Woody Harrelson). Surrounded by couples with real capital (not just social capital), Carl and Yaya are out of their element when a storm sends them into a disgusting and unhinged mess.

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Östlund has his sights set on the uber wealthy with Triangle of Sadness , emphasizing the power dynamics that money forces to the surface of seemingly pleasant encounters. A patron on the yacht asks the employee serving them champagne to get into the hot tub, which turns into the entire crew taking the water slide into the ocean and pushing the captain's dinner back by 30 minutes. Captain Thomas Smith and Russian Dimitry (Zlatko Buric) exchange rapid-fire quotes extolling the virtues of socialism and capitalism, respectively. While the guests on the yacht vomit and the toilets overflow into the halls, they're throwing around the words of Karl Marx, Mark Twain, Margaret Thatcher, and Ronald Reagan over glasses of whiskey. Eventually, even Thomas laments his status as a "real" Marxist, saying he has too much material property to even consider himself one. While it comes across as a bit heavy-handed at times, Östlund's direction serves as a grounding tool amidst the chaos — and what beautiful chaos it is.

Triangle of Sadness takes its name from the area of the face above the nose and between the eyebrows where wrinkles occur and botox needles are injected. Halfway through the film's second act, though, it recalls another famous triangle, one of the Bermuda variety. While the first half of Triangle of Sadness works perfectly well as a satirical , if familiar, send-up of wealth and beauty, it's the second half of the film that Östlund finds his true sweet spot. Power dynamics expand and contract as characters are forced together and pulled apart. To say much more would delve into spoiler territory, but once some yacht-goers arrive at a lush tropical island, that's when the real fun begins.

It's also when Triangle of Sadness ' best character gets to shine. Dolly De Leon's Abigail, mostly seen in glimpses as a cleaner on the yacht, steps forward and, à la Captain Phillips , declares herself the captain now. In a just world, she would be the Best Supporting Actress front-runner to beat but, as it stands, she's just one of the best parts of one of the best films of the year. At just around two and a half hours long, Triangle of Sadness does drag at times and Östlund has said that the initial runtime of the film was almost four hours. The three-act structure of the film ultimately saves it, with each section providing a change of scenery that is both jolting and illuminating, putting the relationships between the characters into new contexts.

In making such an expansive film, Östlund has tackled his subject matter from all sides. While it may not be as sharp as previous efforts like The Square or Force Majeure , there's something about the bluntness of it that works in conjunction with his vision. When it gets to be too on the nose, Östlund seems to know what he's doing. It's all just as showy as the capitalists that the film is indicting. From the yacht to the fashion to the dishes served at the captain's dinner before hell broke loose, there's nothing subtle about Triangle of Sadness — that's why it works.

Next: Every Movie Coming To Theaters In October 2022

Triangle of Sadness is now playing in theaters. The film is 150 minutes long and rated R for language and some sexual content.

Triangle of Sadness

Triangle of Sadness is a film that takes a satirical approach to influencer and wealth culture, a black comedy film by Ruben Östlund. The film is seen primarily through the eyes of Carl and Yaya, two fashion models in a relationship who accept an invitation to partake in a trip on a superyacht filled with incredibly wealthy guests from different nationalities. Unfortunately, chaos ensues when a spoiled dinner makes several guests sick, and a storm suddenly overtakes the yacht, tossing everyone and the ship around. When the ship capsized the following day, a small group of survivors, including Carl and Yaya, made it to a deserted island, where a lack of critical life skills highlights the problems with living with unlimited privilege as they try to survive their new harsh conditions. 

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Triangle of Sadness Reviews

As a satire on fashion and the super-rich, Ruben Östlund’s Triangle of Sadness has its moments, but isn’t entertaining or incisive enough to fully work.

Full Review | Original Score: 2.5/5 | Jul 25, 2024

For those who value smart class commentary, wrapped in top notch production design and entertainment, then “Triangle of Sadness” is one that’ll repulse the eyes but greatly satisfy the mind.

Full Review | Original Score: 4/5 | Jul 15, 2024

No more interesting or enlightening than your average troll pointing out that you, too, live in a society.

Full Review | Original Score: 2/5 | Jul 3, 2024

Despite some fascinating performances from Charlbi Dean Kriek and Woody Harrelson, director Ruben Östlund bites off more than he can chew and struggles to digest it.

Full Review | Jun 11, 2024

I didn’t hate it…I just didn’t love it, the last act felt like it was spinning its wheels

Full Review | Original Score: B- | Apr 24, 2024

I was rolling on the floor laughing

Full Review | Apr 24, 2024

Although at times the charisma of Woody Harrelson can smooth the waters, this movie does not have the intelligence of Parasite -with which it has certain thematic links-, but neither has the audacity of the films of Radu Jude. [Full review in Spanish]

Full Review | Original Score: 4/10 | Dec 19, 2023

Ruben Östlund cements himself as the people’s satirist. Laying bare an incendiary critique of the 1% that never pats itself on the back, instead being the rare epic that invites its audience to take part in its blistering dismantlement of the idle rich.

Full Review | Nov 2, 2023

Bitter, clever and absolutely on the money.

Full Review | Sep 19, 2023

Even though Triangle of Sadness is entertaining, Östlund could’ve taken more steps to criticise the shallowness of wealthy people and social media influencers.

Full Review | Sep 8, 2023

"Gilligan's Island" holds up as a better example of the left roasting right-wing capitalist pigs, whose greed knows no sliver of human decency.

Full Review | Original Score: TWO STARS | Aug 5, 2023

The surprising turn of events in Triangle of Sadness leads to an inevitable conclusion; power is the ultimate form of currency, and even the lowliest of dictators will do whatever it takes to hang onto it.

Full Review | Jul 26, 2023

"Triangle of Sadness" is a true artist's take on people's twisted behavior when they know they have leverage.

Full Review | Jul 25, 2023

The target of Ruben Östlund’s latest class satire is a takedown of the tone-deaf rich on the high seas. Unfortunately, this satire doesn’t challenge the status quo but flatters like-minded individuals thoughts on class and wealth.

This satirical late capitalist parable about the rich’s intolerant food chain and gender roles is never detained by the sledgehammer procedure of its creator.

Full Review | Original Score: B+ | Jul 25, 2023

Triangle of Sadness loses credibility by backing off in the film’s final moments. We’re left with a cliffhanger, a reminder of the limits Östlund could have gone to.

Full Review | Jul 24, 2023

If at times its gross out humour can prove a bit too much, the razor sharp script and timely subject matter keep it a constantly engaging film that rarely feels its runtime.

Full Review | Original Score: 4/5 | Jul 19, 2023

I found it to be far too obvious and much too long; it's nowhere near as searing and subtle as Östlund's 'Force Majeure,' which had an emotional sting.

Full Review | Original Score: 2/4 | Apr 29, 2023

As was the case with Force Majeure (and not so much the case with The Square), Triangle of Sadness is funny, at times outrageously so.

Full Review | Apr 26, 2023

It’s a wild satire of the mega-wealthy and the people who serve them.

Full Review | Apr 24, 2023

• Cast & crew
• User reviews

Triangle of Sadness

A fashion model celebrity couple join an eventful cruise for the super-rich. A fashion model celebrity couple join an eventful cruise for the super-rich. A fashion model celebrity couple join an eventful cruise for the super-rich.

• Ruben Östlund
• Thobias Thorwid
• Harris Dickinson
• Charlbi Dean
• 609 User reviews
• 284 Critic reviews
• 63 Metascore
• 24 wins & 78 nominations total

Top cast 99+

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• The Captain

• (as Zlatko Burić)

• Yacht Steward

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• Trivia Charlbi Dean unexpectedly died shortly after the film's release from sepsis, which was caused by the bacteria called Capnocytophaga. This was complicated by the fact that she had lost her spleen several years before in a car accident. She was just 32.
• Goofs First time we see Therese, she has right sided hemiplegia and aphasia both consistent with a left brain infarct. When she is pulled to shore, her hemiplegia switches sides and for the rest of the movie she has left hemiplegia.

Clementine : [picking up a live grenade] Winston, look. Isn't this one of ours?

• Alternate versions Release in two versions, one for general worldwide release, and an edited cut for People's Republic of China. Respective runtimes are "2h 27m (147 min)" and "2h 13m (133 min) (Mainland China Censored Version) (China)".
• Connections Featured in Amanda the Jedi Show: The Most Theatre Walkouts I've EVER Seen | Cannes 2022 Explained (2022)
• Soundtracks Born Free Written by M.I.A. (as Maya Arulpragasam), Dave Taylor, Alan Vega , Martin Rev and John Hill Performed by M.I.A. © Concord Copyrights London Ltd, Saturn Strip Ltd, Switch Werd Music/Rodeoman Music © WC Music Corp. administered by Warner Chappell Music Scandinavia P 2010 Licensed courtesy of XL Recordings Ltd

User reviews 609

• Jun 6, 2023
• How long is Triangle of Sadness? Powered by Alexa
• September 18, 2022 (Greece)
• United Kingdom
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• Official Neonrated (United States)
• Triangle of Sadness: Đáy Thượng Lưu
• Chiliadou beach, Evoia, Greece (group stranded on the beach)
• Imperative Entertainment
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• €10,000,000 (estimated)
• Oct 9, 2022
• $26,214,659

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• Runtime 2 hours 27 minutes
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• <i>Triangle of Sadness</i> Is an Epic Satire That Wears Out Its Dazzling Welcome

Triangle of Sadness Is an Epic Satire That Wears Out Its Dazzling Welcome

I f any film can make you rethink your stance on riotous and gratuitous on-screen barfing, it’s Ruben Östlund ’s two-and-a-half-hour epic of a satire Triangle of Sadness. A good chunk of the movie is set on a luxury cruise ship, and somewhere mid-film, most of the characters Östlund has introduced in the first half fall prey to seasickness, spraying semi-digested fine-dining delicacies hither and yon. Even those not particularly disposed to displays of extended projectile vomiting will have to admit Östlund’s skill in this arena: He pushes the gross-out gag so far that it becomes a lawless symphony. You won’t see a better, more elegantly sustained upchucking sequence all year.

But is it wrong to want more?

Triangle —which Östlund wrote and directed, and which won the Palme d’Or at Cannes last spring—is a comedy of manners about people who have none. In the early scenes we meet a few of them: The talented and ultra-handsome actor Harris Dickinson (he’s played both an anguished working-class Brooklyn teenager in Beach Rats and a live-action prince in Maleficent: Mistress of Evil) is Carl, a male model who’s shown up for a casting call. In the opening gag, a roaming interviewer quizzes the guys who are waiting to be seen and judged, asking them to display appropriate expressions for “smiley brands,” like H&M, as opposed to “grumpy brands,” a la Balenciaga. A group of them, shirtless and stunning, oblige. A little later, one model appears before the unsmiling casting tribunal, awaiting their instructions as a Boston terrier lingers for no good reason in the background. This is the sort of roguish, pointed nonsense Östlund is great at. In a slightly later scene, we see Carl and his girlfriend Yaya (Charlbi Dean), also a model, finishing dinner in a fancy restaurant. The check comes, and without looking up from her phone, Yaya purrs, “Thank you, honey, that’s so sweet of you.” Carl bristles, and the conversation that follows goes so far beyond the basic question of “Why is the man always expected to pay?” that you start to wonder if it’s a good idea for men and women to ever get together in the first place.

It’s all so promising, and the fact that Östlund allows these early scenes to ramble a bit is a testament to his outsized confidence: their shapelessness is its own shape, sharp as an elbow. You wonder where he’s going, and you’re happy to follow along. It doesn’t hurt that the film is beautifully crafted. Even if you stop laughing at it, Östlund’s supreme control over individual scenes and his willingness to let his actors stretch out remain exemplary.

Read More: The 52 Most Anticipated Movies of Fall 2022

Yet it’s possible to admire Triangle of Sadness without liking it very much. Östlund is the director of the smart and sly avalanche comedy Force Majeure, as well as the caustic art-world sendup The Square . He’s a smartie for sure. But past a certain point, a director showing off his chops becomes just a lot of chomping. Triangle unfolds in three parts: The first, shortest and best, introduces Carl and Yaya, who’s not just a model but also one of those tiresome creatures known as an “influencer,” though Dean gives her some additional, unexpected shading. (Dean died suddenly in August, a sad footnote to the film’s post-Cannes trajectory .) The film’s second chapter takes place on the cruise ship, where, as a perk of Yaya’s influencing, Carl and Yaya are passengers. Others include a cheerful, self-proclaimed fertilizer king from Russia (Zlatko Buric), who has brought along not just his wife (Sunnyi Melles) but also his mistress (Carolina Gynning); a sweet elderly couple (Amanda Walker and Oliver Ford Davies) who have made a fortune in the manufacture of hand grenades; and a stroke victim in a wheelchair (Iris Berben), who has only one phrase at her disposal, one she uses repeatedly to great effect.

The ship’s captain is played by Woody Harrelson ; he’s a reclusive oddball who’s well versed in Marxist philosophy, and he and the avowed Capitalist fertilizer king engage in an extended, drunken, good-natured duel. (This is what’s happening while everyone else is vomiting.) The novelty of their sparring wears off quickly, though Östlund uses it as a preamble for a cleverly orchestrated bit of madness, an elaborate tableau of above-and-below-deck chaos—it all sort of works. Keep an eye out for Abigail, the ship’s “toilet manager” (Dolly De Leon, in the film’s best performance); she’ll play a crucial role in the film’s third section, set on a remote island, the specifics of which shouldn’t be spoiled. If you make it that far, you at least deserve to be surprised.

Because there’s a point where all this belabored skewering starts to lose effect. You can fully agree that most “haves” are dreadful, and that the “have nots” deserve much more out of life, and still be exhausted and bored by Triangle of Sadness and its quirky acidity. The whole enterprise is gorgeous to look at: cinematographer Frederik Wenzel shows how the sun is an expensive blessing on a cruise ship and a searing curse when you’re stuck on an island. Triangle of Sadness definitely looks like money. But it feels like a luxury item, a picture whose payoff isn’t as grand as you might have hoped. Östlund’s gifts are dazzling. If only he knew when to stop giving.

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Triangle of Sadness review: There are rivers of vomit in this class satire, but it’s all a bit pointless

Director ruben östlund’s modus operandi is to state familiar truths in the silliest, basest, and most confrontational of ways, article bookmarked.

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Dir: Ruben Östlund. Starring: Harris Dickinson, Charlbi Dean, Dolly de Leon, Zlatko Burić, Henrik Dorsin, Vicki Berlin, Woody Harrelson. 15, 147 minutes.

This year’s Palme d’Or winner, Triangle of Sadness , is a class satire atop a river of vomit and faeces. A handful of the ultra-rich – among them a tech bro, a grenade manufacturer, and a (literal) manure peddler – have sailed off on a luxury cruise aboard a $250m yacht. They expect a captain’s dinner, but the captain himself ( Woody Harrelson ’s Thomas Smith, effortlessly chaotic) has remained too drunk to make an appearance until the one day choppy seas are predicted. What happens next is a raging hurricane of bodily functions. A few spittles choked out quietly in the corners of the dining room build up to more thunderous chunks. The torrent calms, only for the guests to realise that the yacht’s plumbing is now unsalvageably backed up.

I’m happy to admit that I found all of the above – from the first upchuck to the last – completely hilarious. Writer-director Ruben Östlund’s modus operandi is, in short, to state familiar truths in the silliest, basest, and most confrontational of ways. He’s king of our own discomfort, pushing schadenfreude to such extremes that we start to feel a bit monstrous for laughing. Force Majeure (2014) featured a man ready to abandon his own family when his fight-or-flight response kicked in; The Square (2017) saw a room of wealthy art patrons willingly terrorised by a man pretending to be a chimpanzee.

But, that one already notorious sequence aside, Triangle of Sadness feels a little like gnashing at air. The targeted ideals of Östlund’s previous films, such as Force Majeure ’s male fragility and The Square ’s art-world pretension, felt specific and well-honed. In fact, they share much in common with Triangle of Sadness ’s initial, strongest chapter. A couple – models Carl ( Harris Dickinson ) and Yaya (Charlbi Dean, who died suddenly in August ) – head out to dinner. When the bill arrives, Yaya barely flinches. She’d promised to pay yesterday and, clearly, this is some sort of ongoing charade of hers. Carl has reached his limit. They argue, ferociously. Dickinson and Dean’s taut but subtle performances craft wonderfully hypocritical characters. The pair are interlopers to massive wealth, neither being enormously rich themselves, and seem bewildered by the responsibility it entails. Carl, repeatedly, asks Yaya what he – as a self-proclaimed good guy – should do. She shrugs. It doesn’t seem like she cares.

Östlund views these two, and the rest of the yacht’s guests, as theoretically obsessed with surrendering their power. Carl and Yaya engage in sexual foreplay where she pretends to be the lady of the house, he the lucky pool boy. Vera (Sunnyi Melles), wife of the manure-wealthy Russian oligarch (Zlatko Burić’s Dimitry), commands the crew to “reverse roles” with her. Dimitry and Captain Smith, a Marxist, debate their respective ideologies by launching quotations at each other. They find it funny. For them, there’s no real stake.

Triangle of Sadness , then, grants these people their idle wishes. In a surprise final act, the social hierarchy is upturned and the yacht’s Filipina “toilet manager” Abigail (Dolly de Leon, a highlight) finds herself at its apex. But the new norm simply becomes as exploitative as the old, which renders everything that happened before a touch pointless. Is this all Östlund really has to say? That we’re all as bad as each other, wherever we are in the pecking order, and that knowing what oppression feels like counts for nought? If so, it doesn’t feel like he’s risen that much above Captain Smith, trading shallow barbs with the same elite he’s happy to coddle.

‘Triangle of Sadness’ is in cinemas from 28 October

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Triangle Of Sadness Review

28 Oct 2022

Triangle Of Sadness

Ruben Östlund loves to take the piss. The Swedish director has made a habit of it in his films, delivering scathing satires of family dynamics ( Force Majeure ) or the pretensions of the art world ( The Square ). This time, the effective enfant terrible of European cinema trains his eye on the wealthy and the privileged, though perhaps not in quite the way you would think; his sixth film is as much a farcical comedy as it is a searing indictment.

The film is divided into three distinct chapters. The first act establishes a very modern supermodel power couple, Carl ( Harris Dickinson ) and Yaya (Charlbi Dean, tragically her final film role), and Östlund’s script delights in poking fun at the fatuousness and status anxieties of the fashion world. (It’s here that the film gets its title — derived from a term casting agents use to describe a triangular area of the face supposedly most prone to wrinkles.)

Then, in the film’s middle section, the couple set sail for a trip on a luxury yacht, invited there for their influencer clout: new money, contrasted with old money. The Insta-influencers rub shoulders with aristocratic Brits who politely explain their family business is in weapons of mass destruction, plus a drooling Russian oligarch (deliciously played by Croatian-Danish actor Zlatko Burić — an oligarch specialist) who made his fortune in waste management, the self-described "king of shit".

Östlund’s filmmaking is pointed, almost sarcastic, and about as subtle as a gold-encrusted sledgehammer.

Finally, when disaster strikes the boat, the third act becomes its own thing entirely, and the film turns into an examination of what happens when the status quo of power, class and currency is recalibrated. Throughout, Östlund’s filmmaking is pointed, almost sarcastic, and about as subtle as a gold-encrusted sledgehammer; there’s nothing either discreet or charming about these bourgeoisie. But it is confidently delivered and enjoyably presented, a vigorously compelling riot of gaudiness. It’s almost like watching a nature documentary: you can’t help but be fascinated and repelled by these grotesque, alien creatures.

The carnival of excess is all staged with immense immediacy — never more so than in the central, 15-minute set-piece of the film. It begins with a captain’s dinner of the ocean’s most unappetising seafood during a stormy night; it ends with nearly all the passengers falling victim to violent sickness and diarrhoea, filmed with the kind of explicit scatological fireworks that would make Monty Python’s Mr Creosote blush. No filmmaker has ever before depicted the inglorious act of coming-out-at-both-ends with such disgusting lucidity.

As the walkouts at its Cannes premiere would suggest, this is arthouse comedy at its most juvenile; filthily fun as they are, sequences like that have about as much depth as a toilet bowl. But it is far too enjoyable a ride to care too much: as the cost-of-living crisis deepens and a recession looms, there’s something acutely cathartic in watching the guts of rich people being emptied out for our pleasure.

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Triangle of Sadness Review and Ending Explained – a Vantablack Comedy That’s Far From Pompous

The fact of the matter is Triangle of Sadness is as far from being a pompous comedy as one can get. A black comedy that offers ego-driven monsters a look in the mirror, and those watching outside the social elite can giggle and cringe in delight.

Let me know if I have this right. Ruben Östlund’s film Triangle of Sadness , a blistering Vantablack satire on the lack of morality that comes with beauty and the wealthy elite, was given an eight-minute standing ovation after its premiere at the 2022 Cannes Film Festival , where it won the prestigious Palme d’Or award for Best Picture.

So, has anyone asked if they missed the film’s point entirely? Is the film making fun of and shining a light on their self-aggrandized importance? The mere fact that the audience applauds a harsh look in the mirror of ego-driven monsters brings a whole new meaning to the phrase if you look around the room and don’t see the sucker, you’re it.

Thankfully, the film is not insufferable for the viewer, who can giggle and cringe in delight over the social elite getting a dose of their own medicine. At least the ones who are on the outside looking in like the rest of us.

Table of Contents

The triangle of sadness review and plot summary, triangle of sadness ending explained.

Triangle of Sadness follows a celebrity couple in the prime of their social media age. Carl (played by Harris Dickinson) and his “girlfriend” Yaya (the late Charlbi Dean, brilliant here) are a couple of models posing for their cell phones to upload constant contact of their beauty that a higher deity has seemingly blessed.

They lead the “IG” life that has no actual use or value in the real world. The kind that will go away quickly. You know what I mean. When they get old and bloated, and unless Carl has a dome like Jason Statham, baldness will be a detractor. Each knows their work is on a short shelf life, so much they quibble over dinner checks like each piece of paper is their last will and testament.

However, they know they are a social media power couple, and it’s good for business. So they head off on a luxury cruise for the filthy rich. Along the way, they take as many selfies as possible.

We are talking about everything from your classic poolside shots to the “Look at me eating lots of carbs and still so thin” ones right before Yaya tosses aside a large chunk of tangled spaghetti she was pretending to eat. The ship’s captain (played by Woody Harrelson) is going through an existential crisis, the type you don’t want in your large travel vehicles in the middle of nowhere.

The boat has a wide variety of the truly morally bankrupt. Paula (Vicki Berlin) is the staff manager who tries to keep the peace the best she can. There’s the opinionated Russian billionaire Dimitry (Zlatko Buric), who’s a bit of a brute.

A “toilet manager,” Abigail (a hilarious Dolly De Leon), the film’s best character, has found new leadership capabilities. All this comes to a head when the ship passes through a terrible storm where everyone experiences a terrible bout of seas sickness. (Put it this way, everyone has their own Mr. Creosote moment).

The ship begins to sink, and a small portion of its tenants are now stuck on a deserted island. Remember that they are armed with only their cell phones and no charger.

Östlund’s film is smart and not afraid to make fun of itself or the ones they idolize while holding high esteem. There are a half dozen priceless scenes in the film. Like Harrelson’s and Buric’s characters only capable reason for having an intellectual discussion is the help of Google searches for quotes fitting their moral beliefs, which they know nothing about.

You’ll cringe and cover your eyes as Carl tries to defend why he has to pay the dinner bill for his stunning girlfriend. He cannot stop putting his foot in his mouth.

And of all scenes that astutely sum up the dark commerce themes of Triangle of Sadness —  no one knows how to save a buck like the uber-wealthy — when a character’s dead spouse washes up on the beach, they don’t hesitate to pull off all their jewelry.

Even before the shock settles in, suggesting these people are incapable of feelings that go beyond shallow. Östlund’s script is full of these moments. These are made simple with some brilliant performances.

Most notably, the late Charlbi Dean, whose presence and delivery are priceless. Buric has some of the film’s dark, gasp-inducing moments. However, the breakout star is Dolly De Leon. She plays one of the only characters who truly first with the morally bankrupted everyone else swims in. Now that she has a taste of it, can she go back?

This is a comedy as far from pompous as you can get. I would argue that Triangle of Sadness is not too long. In fact, it had to go a step further. Yes, it’s far from perfect, but that’s because Östlund takes some real chances with his script here and allows his cast to do the same.

While the ending of Triangle of Sadness is a bit of a headscratcher, it leaves the viewer open to the possibilities of coming up with their interpretation. That hurts the film slightly, but you’ll walk away satisfied you saw a hilarious comedy that never failed to play it safe.

If only they had taken that one dark step further.

Charlbi Dean and Harris Dickinson in Triangle of Sadness via IMDb

What happened at the end of the Triangle of Sadness?

Abigail and Yaya stumble upon a five-star resort and a sunbathing area with an elevator built into a mountain. Yaya is celebrating and wants to enter those doors, but Abigail asks her to sit and enjoy the moment. She then pretends she has to use the bathroom and grabs a large rock the size of a person’s head. She slowly approaches Yaya, with the implication of killing her.

Why? Because if they enter those elevators, things go back to normal. Abigail will have to leave her position of esteem and power and return to being a “toilet manager,” which settles in. Especially after Yaya, staring into the ocean, tells Abigail she wants to help her. How? By making her an assistant to her social media influencer empire.

That’s when you see Abigail’s face start to snap. When you think she will smash the boulder into Yaya’s head, the film cut’s to Carl racing frantically through the woods. That’s when the film ends.

Why was Carl running at the end of Triangle of Sadness?

This is open to interpretation. For all we know, Carl is being chased by that polar bear in Lost . However, considering Abigail was just about to kill Yaya in a way that’d get Shirley Jackson’s seal of approval, our theory is simple. The remaining survivors were most likely notified of what Therese already knew. The German woman, who stays in the raft because on the ship is bound to a wheelchair, is approached by a hospitality worker. We theorize that someone came across them or heard her talking loudly to the man and then ran over with concern.

If Carl is notified of this, he must start to think about Abigail and Yaya. He is either running with great urgency to let them know of their finding, or something more ominous has come over his mind.

Knowing Abigail better than anyone, he has seen how she has succumbed to the seductive element of power. Knowing the same feeling he felt when part of the social elite, he would probably do anything to take it back. Carl could easily see Abigail coming across the resort, killing Yaya to keep the secret and resume her place on top of the social hierarchy. Something she never had until now and will likely never obtain again.

This speaks to writer and director Ruben Östlund’s wanting to create a human dilemma that many outside the social elite and hierarchy can relate to.

What is the message of Triangle of Sadness?

The film’s title, Triangle of Sadness , refers to an area of the face where a model operates to express different emotions in their poses. The place where the face rests between someone’s eyebrows.

According to the film, this is where someone’s stress levels are most evident. You see this at the beginning of the film with Carl at his modeling audition and when Abigail is struggling with her morals as she is working up the courage to start Swimming with the Sharks.

The message behind Triangle of Sadness is the gaps between the social elite and the hierarchy, and questions a society that puts so much money and power in beauty and morally questionable ways to make a living. Also, the theme of exaggerating their self-importance in a world based on the facade of money, beauty, and power can bring.

One of the few people without power, Abigail, is not corrupt and has real-life skills to help her survive the island. Then why does Abigail want to kill Yaya? While we know the others have been corrupted by power, we never see how they landed at the destination.

With Abigail, we watch her slowly lose her values by being corrupted by power. She takes more food than the others. Abigail becomes the sole authority, punishing those who do not carry their weight. She even learns the seductive use of power all too literally by having Carl be her concubine.

What did you think of the ending of Triangle of Sadness? Comment below.

Article by Marc Miller

Marc Miller (also known as M.N. Miller) joined Ready Steady Cut in April 2018 as a Film and TV Critic, publishing over 1,600 articles on the website. Since a young age, Marc dreamed of becoming a legitimate critic and having that famous “Rotten Tomato” approved status – in 2023, he achieved that status.

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Triangle Of Sadness Review: A Biting And Hysterical Satire [Cannes]

"Tringle of Sadness" is an utterly hilarious satire told in three acts, each more ludicrous than the last. For his English-language debut, Ruben Östlund brings together a fantastic ensemble cast to tell a story with biting commentary on class that explodes into absolute chaos. Though the film is a bit too long and peaks a bit in its second act, this could become this year's big social-commentary film that gets horribly misinterpreted by Hollywood types, even if Östlund spells out the message several times during the film's two-and-a-half-hour runtime.

Ruben Östlund has made a career out of comedic films aimed at making the audience incredibly uncomfortable while confronting societal roles and spaces of privilege, with hits like the ski-resort black comedy "Force Majeure" or the art world satire "The Square." For "Triangle of Sadness," Östlund looks at the world of male fashion — the title refers to the space between the eyebrows and the bridge of the nose, and how often it is "fixed" with Botox — and the uber-wealthy. It's part disaster film, part survival thriller, and all laugh-out-loud satire.

Real Housewives of Christina O

The first act centers on the world of male fashion, perhaps the one industry where men have it worse than women. We follow Carl (Harris Dickinson) and his girlfriend/influencer business partner Yaya (Charlbi Dean) during a huge argument over dinner and whether she should offer to pay the bill. According to Carl, it is not about her making more money than him, but about him being such a feminist he wants to avoid the traditional role of the male provider. Apparently, the whole exchange and subsequent fight were inspired by a real argument that happened while at Cannes between Östlund and his now-wife, and you can see that on the screen, with the dialogue and framing feeling hyper-realistic even as it becomes overly absurd.

Indeed, like every joke in the film, the argument is extended to the point where it becomes uncomfortable to keep watching, and you want to just move on to the next scene. Östlund and cinematographer Fredrik Wenzel hold the camera for as long as humanly possible, making the audience as uncomfortable as the characters before revealing the punchline.

For act two, the dynamics change, with the two models/influencers getting invited to a yacht for the rich, a place so obscenely wealthy (the Christina O ) that the all-white crew ends a daily meeting chanting "Money! Money!" while those working below deck (all people of color) are neither seen nor heard. During this act, Östlund keeps the camera mostly static and in medium-wide shots, slowly building tension and mixing influences from everything from "Titanic" to "Parasite" and Jordan Peele's "Us" for chaotic and delightfully gross results.

A soon-to-be misunderstood satire

The ensemble cast here includes Zlatko Burić as a hilarious Russian oligarch who made his fortune in fertilizer, likes to call himself the "king of s***," and walks around openly with both his wife and his mistress side by side, a rich Swedish programmer here to check out all the girls (Henrik Dorsin), and maybe a kind old weapons-dealing couple or two. If part one is a continuation of the themes of postfeminist masculinity from "Force Majure," then this is the logical follow-up to how "The Square" explored the inaccessible and obscene world of class and privilege.

Without a doubt, however, the standout performance comes from Woody Harrelson, who plays the Marxist captain of this stupidly lavish yacht. Harrelson spends most of the movie drunk off-camera (to the point where I actually thought he was never going to show up) and then fighting with the Russian oligarch over the merits of socialism, and maybe causing a drunken panic on board for laughs.

Though the film loses a bit of steam in its third act, it remains biting and funny throughout, as Östlund keeps inverting and reinverting societal roles to keep the audience on their toes, while delivering some delicious social catharsis. "Triangle of Sadness" marks a fantastic English-language debut for Östlund, a movie that offers biting social commentary, some laugh-out-loud and gross moments of chaos, and one hell of a performance from Woody Harrelson. This is also a movie you want to see yourself before the celebrities watch it and take away the wrong lessons.

/Film rating: 8 out of 10

"Triangle of Sadness" premiered as part of the Cannes Film Festival 2022.

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Triangle of sadness, common sense media reviewers.

Bold satire has strong language, adult themes, drinking.

A Lot or a Little?

What you will—and won't—find in this movie.

Power is likely to be abused. Wealth can lead to a

Very few positive qualities to characters, particu

Film pokes fun at society and racism within, such

Character has suspected heart attack on-screen. Pa

Brief sexual activity beneath sheets. Kissing and

Frequent language includes "f---ing," "f--k," "s--

The film's main objective is poking fun at the sup

Characters drink wine, champagne, and spirits. Cha

Parents need to know that Triangle of Sadness is an impressive satirical drama that takes aim at the super rich and has strong language, sex, drinking, and smoking. It centers on a group of wealthy people -- including celebrity model couple Carl (Harris Dickinson) and Yaya (Charlbi Dean) -- on a trip aboard a…

Positive Messages

Power is likely to be abused. Wealth can lead to a sense of unearned privilege. Hierarchy can change with circumstances, so don't rest on your laurels.

Positive Role Models

Very few positive qualities to characters, particularly the rich ones, who show unscrupulous, headonistic behavior. Those working on the ship display more humanity, but even they focus on the large tips they'll get if they treat passengers well. Ship worker Abigail shows intelligence and physical capability, though her philosophy of power eventually leads to manipulative and egotistical behavior.

Diverse Representations

Film pokes fun at society and racism within, such as above deck workers on the boat all being White, while those with more menial jobs are Black, Filipino, and Eastern Mediterranean. A character assumes another is a pirate because he is Black. The plot sees a Filipino character outsmart the rich passengers and claim control at one point. Touches on and challenges the notion of gender roles in a discussion about men traditionally paying for dinner. Later a character congratulates another for "domesticating the old, alpha males." A character in a wheelchair with limited speech is shown to be confident and ask for what she wants, though is sometimes sidelined by other characters. Stereotypical Russian oligarch, who talks about money and prioritizes wealth, taking expensive jewelry off a dead body at one stage.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Character has suspected heart attack on-screen. Passing mention of defibrillators and stroke. People on boat carry rifles. Large explosion. Drowned bodies shown on-screen. Mention of war, hand grenades, land mines, bombs, and mangled bodies. Characters suffer from severe sickness (vomit, diarrhea), fall down stairs, and are thrown about the ship in bad weather. Scary animal noise at night. Donkey bludgeoned to death with rock, resulting in blood on character's clothing. A character lifts a rock as though to hit another.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Brief sexual activity beneath sheets. Kissing and touching on bed. Naked character on toilet (genitals not in shot). Non-sexual nudity includes naked character shown from behind and breast exposed.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Frequent language includes "f---ing," "f--k," "s--t," "bulls--t," "piss," and "a--hole." "Jesus" and "goddammit" used as exclamations.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

The film's main objective is poking fun at the super-rich who are shown to live absurdly lavish lifestyles. Characters are shown to be overly consumed with money and expensive items. Brands mentioned or seen on-screen include H&M, Balenciaga, Rolex, Louis Vuitton, Evian, and Nutella. Mention of €25,000 engagement ring and $250 million luxury yacht, which is the setting for much of the film.

Drinking, Drugs & Smoking

Characters drink wine, champagne, and spirits. Characters seen visibly drunk, including during a drinking game, which results in behavior that endangers other passengers. Characters also smoke cigarettes on numerous occasions.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Triangle of Sadness is an impressive satirical drama that takes aim at the super rich and has strong language, sex, drinking, and smoking. It centers on a group of wealthy people -- including celebrity model couple Carl ( Harris Dickinson ) and Yaya ( Charlbi Dean ) -- on a trip aboard a luxury yacht that goes awry. It is a social commentary that deals with mature themes such as the ethics of arms dealing and mentions socialism, capitalism, and Marxism. There is strong language including "f--k" and "s--t" and characters smoke and are seen visibly drunk on a number of occasions. Brands are mentioned and shown on-screen including Rolex, Evian, and Louis Vuitton. There is a protracted scene involving projectile vomiting and diarrhea, and the bludgeoning to death of an animal, as well as drowned bodies on-screen. Brief sexual activity is portrayed beneath the sheets and brief partial nudity is also shown. Mature themes and a lengthy runtime make this suitable for adults and older teens, particularly those who enjoy dark, knife-sharp humor. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (4)
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Based on 4 parent reviews

Sadistic Satire

What's the story.

In TRIANGLE OF SADNESS, a group of wealthy people, including model power couple Carl ( Harris Dickinson ) and Yaya ( Charlbi Dean ), set sail aboard a luxury yacht. But a drunk captain ( Woody Harrelson ) and an unexpected chain of events change the course of the trip dramatically.

Is It Any Good?

Fans of Ruben Östlund 's unique style of social criticism will find much to like here as he skewers the super rich over some pretty fiery flames. While his 2014 breakout Force Majeure took aim at gender politics, and his previous Cannes winner The Square offered a long hard look at the elitism and hypocrisy of the art world, we're in perhaps more familiar comedy territory this time, as Triangle of Sadness sends up its smug, unsuspecting characters before sending them truly crashing down.

The now infamous dinner scene, that resulted in numerous walkouts at Cannes -- the same festival at which the film took home the coveted Palme d'Or -- will make or break it for many, depending how strong their stomachs. But elsewhere there are more subtle touches and standout performances. These include Harrelson's inebriated captain, standing at a slant and spouting Marxist theory and Dolly De Leon as below-deck worker Abigail, who turns the tables in a satisfying way, and offers one of few people to borderline root for, even as she descends into her own power-hungry darkness.

Talk to Your Kids About ...

Families can talk about what Triangle of Sadness had to say about wealth and power. How were power dynamics portrayed? What were they based on? How did they change during the course of the film?

The film touches on stereotypes to poke fun at different kinds of wealthy people. What stereotypes did you notice? Discuss the use of stereotypes in movies -- can you see positive and negative aspects of playing into them, particularly for the purpose of comedy?

Many of the characters were unlikable. How did it feel watching characters with few redeeming qualities? Did it affect your experience and how much you cared about the outcome?

Discuss the strong language used in the movie. What did it contribute to the movie? Is a certain kind of language expected in a movie like this?

How was drinking and smoking depicted in the film? Were they glamorized? Why does that matter?

Movie Details

• In theaters : October 7, 2022
• On DVD or streaming : April 25, 2023
• Cast : Charlbi Dean , Harris Dickinson , Woody Harrelson
• Director : Ruben Östlund
• Studio : Neon
• Genre : Comedy
• Run time : 147 minutes
• MPAA rating : R
• MPAA explanation : language and some sexual content
• Last updated : October 31, 2023

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• DVD & Streaming

Triangle of Sadness

• Comedy , Drama

Content Caution

In Theaters

• September 22, 2022
• Charlbi Dean as Yaya; Harris Dickinson as Carl; Woody Harrelson as The Captain; Zlatko Buric as Dimitry; Vicki Berlin as Paula; Dolly De Leon As Abigail; Sunnyi Melles as Vera; Henrik Dorsin as Jarmo

Home Release Date

• November 22, 2022
• Ruben Östlund

Distributor

• Imperative Entertainment

Movie Review

When you’re oh so pretty, rich and fawned over like runway model and internet influencer Yaya is, things just come your way. Doors open. Gifts are freely given. She and her (nearly as beautiful) model boyfriend, Carl, even got tickets to this exclusive Mediterranean Yacht trip they’re now enjoying as a complete freebee.

As they lounge on the sparkling-clean deck in their almost-there swimsuits, Yaya and Carl are indeed part of the upper echelon. Of course, not all of the super-rich gathered onboard look as beautifully important as they do.

There’s the fat and slovenly Russian billionaire who made his fortune in fertilizer. (He calls himself the “King of Sh-t”) And the ancient and impeccably mannered British couple who rest on a family fortune gained from landmines and hand grenades. The alcoholic, Marxist ship’s captain who spends his time pickled and locked in his cabin. And several others of similar ilk.

None stand out in a crowd like Yaya and Carl, of course, but they all can move the world at the slightest whim and snap of their fingers. (Such as when the Russian billionaire’s wife drunkenly orders that the whole ship’s crew take a quick swim in the ocean. And of course, they all oblige.)

But even the most beautiful, the most wealthy and the most powerful can’t control everything . When the skies turn stormy and the seas start to roil, and the seven-course captain’s dinner begins to, uh, return … repeatedly … from all possible source points, everyone is powerless.

And when the angry seas (and other things) send a luxury yacht to the ocean floor, well, everyone onboard—runway models, ship’s crew and duty maids—are, shall we say, left in the same boat. Or lack thereof.   

Suddenly, beauty and money mean far less. But control? Ah, those reins may be snatched in the most unexpected ways.

Positive Elements

Nearly everyone in this story has their own agenda that might, on the surface, seem upright (such as Carl’s desire to push against negative gender expectations in his relationship with Yaya). But eventually everyone’s choices prove to be rather self-serving and manipulative.

That isn’t a positive, of course. But with the right mindset, it could be seen as the movie’s encouragement that we should all make better choices and be better people.

Spiritual Elements

Sexual content.

As models, both Yaya and Carl are fit, physically attractive people, and we see them in various states of undress. Carl, for instance, is shirtless through at least half of the film. Yaya wears a couple very skimpy bikinis that leave very little to the imagination and, later, a tattered dress that exposes lots of flesh. We see the couple in bed, naked but covered. And Yaya’s breast is exposed at one point after she’s washed up on an islands beach.

Carl has a naked female torso tattooed on his thigh. A man talks to him about being a model and having to contend with gay men who want to sleep with him. During a runway audition Carl performs on cue with a room full of similarly shirtless men.

A woman is violently ill while nearly naked—exposing her backside and breasts as she rolls back and forth in a bathroom. A man sits naked on a toilet. A woman displays a great deal of cleavage. We see a couple women in bikinis.

[ Spoiler Warning ] After ending up shipwrecked on an unknown island, Carl is called upon to sleep with a relatively unattractive woman who has taken control. He gladly takes on the role of her “trophy” sexual partner in exchange for better sleeping quarters and better portions of food. We see them in the midst of an obvious sexual activity, both are at least partially covered by a blanket. They kiss.

Violent Content

The storm that hits the large yacht is pretty violent all on its own. It causes the large boat to churn side-to-side, causing tables, bottles and glasses to tumble and smash. Some passengers also stumble and fall down staircases because of the upheaval. The roiling seas also cause people to slam into the floors and walls in their cabin bathrooms. (Some are knocked unconscious in the turmoil.)

[ Spoiler Warning ] After the devastating storm, the yacht is also attacked by a group of heavily armed pirates. We see several explosions on the boat from a distance. (One of those is a hand grenade that sends an elderly couple flying over a railing into the ocean.)

Only a handful of people survive and  wash up on a nearby islands shore. One man finds his dead wife and kisses her corpse while removing her jewelry. Someone has a heart attack and must be shocked with a defibrillator. Male survivors corner a donkey in the islands brush. One bashes the braying beast repeatedly with a very large stone. He comes back covered in the animal’s blood.

A woman, who realizes that she may lose her power if a secret is revealed, picks up a large rock to kill someone (though the camera cuts away before we see her commit the act).

Crude or Profane Language

We hear more than 15 f-words and about the same number of s-words in the dialogue, along with a single use of the word “a–hole.”

Jesus’ and God’s names are both misused a half-dozen times total (one of those combining God’s name with “d–n.”)

Drug and Alcohol Content

While still on the cruise, all the passengers and the captain drink beer, wine, champagne and harder booze profusely. We see many of them very drunk on numerous occasions.

In fact, the captain and Dimitri, the Russian billionaire, continue to drink and get staggeringly intoxicated during the big storm. They end up locking themselves in a pilotless control center, arguing drunkenly over the ship’s intercom.

A man smokes a cigar.

Other Negative Elements

The film features a protracted, slow-burn set of scenes that begin with a seven-course dinner. But thanks to the violent seas, heavy drinking and possible food-poisoning, the action devolves into nearly everyone onboard getting violently ill.

Passengers slosh back and forth in their bathrooms, some naked or minimally dressed, vomiting and defecating explosively in a grotesque nightmare of sight and sound. Eventually the yacht’s sewage system erupts, spewing feces and sewage up and out of the cabin toilets and down the hallways like a foul flood.

People lie and manipulate others. The film points out how completely heartless and puerile the modeling industry is. (And it suggests that the business of being an online influencer isn’t much different.)

Many will see Triangle of Sadness as a blunt, in-your-face social satire—a backhanded slap at capitalism and the societal inequities that system can propagate. But if you look beyond the tongue-in-cheek histrionics and slapstick retching of this Gilligan’s-Island -meets- Lord-of-the-Flies tale, you’ll find a film that actually speaks to the basest nature of mankind itself.

We are a broken bunch who will always fall short, it tells us. We are sinners who will step on each other’s necks, stoop to any low, manipulate and even kill for our place in the pack. That’s a stark, artfully built message that doesn’t require a great deal of introspective thought.

Of course, while you may think of mankind’s brokenness through a biblical lens, this film does not. So you won’t find any suggested solutions for our congregate plight, nor any shred of virtues like courage or self-sacrifice.

Instead, what you will find is a boldly insightful, decidedly foul and excrementally slapstick movie. Whether or not that equals “entertainment,” is up to you.

After spending more than two decades touring, directing, writing and producing for Christian theater and radio (most recently for Adventures in Odyssey, which he still contributes to), Bob joined the Plugged In staff to help us focus more heavily on video games. He is also one of our primary movie reviewers.

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Embrace Your Summer Dad Bod. These Movies Show You the Way.

Films have much to say about taking a dad bod on vacation — from cheap laughs to the sartorial glories of Gérard Depardieu.

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By Aaron Timms

Ever since Elon Musk bought Twitter and somehow made the tailoring guru Derek Guy — better known by his handle @dieworkwear — an internet star, men’s wear has been the subject of more volcanically impassioned discussion online than ever. Where should the button on a suit jacket sit? Are brown shoes ever acceptable? Cargo shorts: yes or no? We are all critics of fit and silhouette now, pursing our lips in displeasure at every collar gap. But even in the final month of a brutally hot summer, one question remains underexplored: How should the thick-middled man present himself on the beach?

The best answers to this question come not from the internet but from movies. In a culture dominated by the young, fun and hard-bodied, the middle-aged big man struggles for visibility; he is dismissed as unimpressive, a cultural dead weight. (Women, of course, often experience far more profound and vicious versions of this.) The silver screen has traditionally devoted itself to the glorification of slender frames, washboard abs and hourglass figures. But amid its celluloid profusion of perfect 10s, there is a small but important subgenre of films examining the dramas — corporeal, sartorial, emotional — of the blockily built man at the seaside. If you, like me, are the proud owner of a dad bod and urgently need relief from the heat, the world’s filmmakers have a message: You are not alone.

To be fair, the stories of doughy dudes by the water are not always happy ones. The role is usually played for laughs, with extra pounds often symbolizing a defect of character. One thinks of the Russian oligarch Dimitry in the recent eat-the-rich satire “Triangle of Sadness,” lounging on a superyacht in vise-tight swimmers and a libidinally flowing gown, his gut round as the earth. Or the volatile movie executive Jack Lipnick in “Barton Fink,” tyrannically calling the shots in 1940s Hollywood from a poolside recliner, his supersize trunks hitched up to his navel. Or there’s the wetsuited dad that Kevin James plays in the 2010 comedy “Grown Ups,” who clears the pool at an amusement park after his urine turns a patch of water blue.

For a more subtle portrayal, consider the 2016 Greek thriller “Suntan,” which explores, with uncommon sensitivity, the beachbound big boy’s pathologies and fears: the fretting over attire, the embarrassment of the torso reveal, the sense of liberation once hidden under the water. “Suntan” follows Kostis, a balding middle-aged doctor living on an Aegean island, as he descends into despair and madness after becoming obsessed with Anna, a lithe and carefree 21-year-old on a beach holiday with friends. But it is a wardrobe drama as much as a beach one: For Kostis, the question of how to dress as a balloon-bellied man is intimately tied to the question of how to be . His emotional constipation (and eventual doom) are literalized through his clothing, which remains unchanged even as he experiences a sexual awakening with Anna and then confronts her eventual rejection. From the film’s beginning to its end, we see the dumpy doctor dragging himself to the beach in the same tired get-up of long pants pulled over swimming shorts, grubby white business shirt, bucket hat and dusty Crocs.

No actor has ever expressed the potential of the brick-bodied man on vacation more confidently than Gérard Depardieu.

Other movies offer more hopeful looks, though they still often disappoint. In “The Talented Mr. Ripley,” Philip Seymour Hoffman played the husky expat playboy Freddie Miles with a baggy charisma, his summer looks a mix of generous tan suits, billowy shirts, snug shorts and unlaced boat shoes. (He ends up being bludgeoned to death with a marble bust, so he may not be the best model.) In Jonathan Glazer’s 2000 crime comedy “Sexy Beast,” much of the action takes place around the pool owned by Gary Dove, a former London mob figure enjoying retirement at a seaside villa in Spain. Dove’s serenity, and his wardrobe, are disrupted by an unwanted visit from his former associate Don, a skewer-thin psychopath who wears his shirts tucked in and mocks Dove as a “big oaf,” a “fat crocodile” and a “blob.” The relaxed outfits of Dove’s seaside life — the wide white pants, draping shirts and chunky gold chains — are soon replaced by business suits and mousy overcoats as he heads back to London for one last job. Leisure is thick; business is thin.

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Tv/streaming, collections, chaz's journal, great movies, contributors, it ends with us.

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"What would you say if your daughter told you her boyfriend pushed her down the stairs but it's okay because really it was just an accident?" Questions like this are at the heart of "It Ends with Us,” based on the bestselling novel of the same name by Colleen Hoover . This is a message picture about what it takes to break the vicious cycle of domestic violence. It is not subtle. 

After the emotional turmoil of her estranged father's funeral in Maine, our heroine, the impeccably fashionable Lily Bloom ( Blake Lively , the best clotheshorse movie star since Kay Francis), breaks into a rooftop to peer at the vast beauty of Boston's skyline. Before she can do much introspection, she meets the impossibly handsome and impossibly named Ryle Kincaid ( Justin Baldoni , also the film's director), a neurosurgeon (naturally). Baldoni comes barreling into the scene like a hurricane, hurling a pair of steel chairs across the rooftop in anger. Instead of repulsion from this violent act, Lily finds herself intrigued and drawn to his charm and megawatt smile. Their playful patter, peppered with barbs veiled as flirtation from Ryle, ramps up until the dashing surgeon is summoned back to the hospital by his beeper. 

This is of course not the last we see of Ryle. He just happens to be the brother of Allysa ( Jenny Slate ), the quirky rich and bored housewife Lily hires to help her run the Cottagecore florist shop of her dreams. Although Lily repeatedly insists that she just wants to be friends, Ryle pursues her, ignoring her many pleas just as flagrantly as she ignores all his red flags. Lust is a hell of a drug. 

Quickly, Ryle's negs and flirtatious barbs ramp up, transforming into toxic jealousy and other forms of obsessive behavior. This includes inviting himself to dinner with her mother by dropping the L-word for the first time, one of several such instances of emotional manipulation he brandishes like a silver-tipped dagger. Before she knows it, Lily is not only in a relationship she didn't really want, she herself becomes an outlet for Ryle's raging temper. 

The early scenes of Lily and Ryle's volatile courtship are interwoven with scenes in which teenage Lily ( Isabela Ferrer ) falls in love for the first time with a schoolmate named Atlas ( Alex Neustaedter ). The soulful boy is squatting in the abandoned house across the street from hers, fleeing his mother’s abusive boyfriend. The generous and nonjudgmental Lily offers both aid and friendship when Atlas needs it the most. He in turn offers her a caring shoulder and a safe place to finally express the fear she feels as she watches her father physically abuse her own mother over and over again. 

These scenes are innocent and tender, the two young actors imbuing the teenagers with just the right balance of world weariness from the violence they’ve already endured and the irrepressible hope that comes with youth. Yet, Baldoni and his team of editors ( Oona Flaherty and Robb Sullivan ) can't quite find the right balance between these scenes and the more erotic and violent scenes featuring Baldoni and Lively. However, once Brandon Sklenar (doing his best Harry Connick, Jr. in " Hope Floats ") enters as the grown-up Atlas, he is able to craft an effortless, natural chemistry with Lively that is nearly as strong as these early moments, although they both are far too fleeting. 

This story of love, trauma and abuse is wrapped up in the same amber-hued autumnal glow of Lively’s bestie Taylor Swift ’s short film for her autobiographical song "All Too Well (10 Minute Version)," which itself is about an abusive relationship. Lily even has the same tousled strawberry blonde tresses as the short film's star Sadie Sink . So naturally, the film's most climatic moment of domestic abuse, like the short, takes place in the couple's kitchen. Later, the moment where Lily comes into her own power as she attempts to rebuild her life is underscored by Swift's "My Tears Ricochet" (which perhaps counts as a spoiler if you know the topic of the song. Swifties, I'm sorry.)

"It Ends with Us" is a fine-looking picture. Baldoni and cinematographer Barry Peterson know how to frame movie star faces in flattering medium close-ups, allowing every nuanced emotion, every twinkle in their eyes to transport the viewers on this emotional journey with them, even when the characters feel more like didactic cyphers than fully-realized human beings. Lily’s flower shop (which never seems to have any customers) is a Pinterest board brought to life. And Lively’s designer duds are nearly as showstopping as the ones she sports in “ A Simple Favor .”

Lively does her best to add emotional layers to Lily so we see her internal growth, but this process is often hampered by the film around her. I kept thinking of " Alice, Darling ,” Mary Nighy's incredible film about intimate partner violence from a few years back in which Anna Kendrick finds herself suffocating in a psychologically abusive relationship. In that film, Kendrick's character is given a full life and a group of friends who help her overcome the codependent trap she's been caged in. Here, the few women in Lily's life – her so-called best friend Allysa and her mother Jenny ( Amy Morton ) – are underdeveloped, relegated to a handful of scenes that largely exist as plot points.  

The PG-13 rating keeps the violence Ryle inflicts on Lily, or her father's violence in the flashbacks, to a minimum visually (and often seen in slow motion or in choppy montages), Christy Hall ’s script unfortunately often falls into "as the father of daughters" territory, giving more care to explaining why these men are the way they are (especially in Ryle's case, in the film's most cringe-worthy twist) than it does to the psychology – let alone the economics – of why women often stay with abusive partners. Instead, this subject, which should really be the key to the whole story, is covered in one very short scene between Lily and her mother. The forced love triangle once Atlas re-enters Lily's adult life also restricts things, causing Lily's life to once again orbit mostly around the men in it. 

"It Ends with Us" is certainly not a bad film. At times, it's actually quite good and its central message is crafted with intention and care. I just wish it had a sharper focus on Lily's interiority, her life beyond her trauma, and who she really is in relation to herself, and herself alone.

Marya E. Gates

Marya E. Gates is a freelance film and culture writer based in Los Angeles and Chicago. She studied Comparative Literature at U.C. Berkeley, and also has an overpriced and underused MFA in Film Production. Other bylines include Moviefone, The Playlist, Crooked Marquee, Nerdist, and Vulture. 

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It Ends with Us (2024)

Rated PG-13

131 minutes

Blake Lively as Lily Bloom

Justin Baldoni as Ryle Kincaid

Brandon Sklenar as Atlas Corrigan

Jenny Slate as Allysa

Hasan Minhaj as Marshall

• Justin Baldoni
• Christy Hall

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There may not be a movie that has more BDE (Brooklyn Dad Energy) than Good One — you’d have to go to closing time at a Park Slope bar with nothing but The National on the jukebox to find a more concentrated dose of paternal moodiness than writer-director India Donaldson’s debut. The fact that this modest, quiet drama isn’t filtered through a male perspective but that of 17-year-old young woman, who both bears witness to two middle-aged men navigating mid-life crises and sees right through their bullshit, doesn’t make it any less sad-dad melancholy. Nor does this film let these guys off the hook, and it’s the way Donaldson’s revision of the dudes-with-feels-in-forest masterpiece Old Joy as a coming-of-age parable strikes a balance between empathetic and pitiless that makes it both sing and sting.

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Right, that “loss of innocence” bit: There’s a sense of something looming, just past the picture-postcard landscapes and breathtaking views of Mother Nature’s bounty, in the movie’s slow-tick pacing and tiny pivots of people caught in undertows of self-pity. A single sentence drastically changes the tone of both the trip and the movie itself, and the audience is left to sift through the wreckage of what turns into betrayals — plural, not singular. For something so “small,” the ripples left in this remark are gigantic. The movie was always Sam’s from the jump, but so much of Donaldson’s film is generously given over to being Brooklyn Sad-Dad catnip, as these two men wax poetic and bathetic about second marriages, second families, a lack of second chances. Then it completely shifts allegiance to Collias’ character, and you feel as if, like her, you truly see things clearly. A little too clearly. Good One is, among its infinite attributes, an ode to a style of filmmaking that appears to be humble, yet still manages to be devastating and humanistic to its very core. Mostly, it’s just a great fucking movie, full stop.

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Emily In Paris season 4 is more of the same

In the first five episodes of its new batch, the frothy netflix comedy sticks to what it knows best.

Netflix’s decision to split Emily In Paris season four into two halves is ridiculous. The show’s pleasures, however few they may be, lie in the ability to speed-watch until your eyes glaze over from its glossy fashions and impeccable locations. Throwing in an unnecessary break doesn’t help, as this isn’t a nail-biter like Stranger Things or Ozark that has an inexplicable twist or two to ponder between batches. Emily In Paris is escapism at its shiniest. And who the hell wants to halt halfway through to watch that? 

At this point, Emily In Paris has a formulaic story structure that it will adhere to no matter what. It’s devised to be enjoyed and then to moved on from. The writers and performers aren’t challenged, so the audience isn’t either. And perhaps that’s the fun of it. A rote yet amusing setup seems to be working adequately considering Darren Star’s series has cobbled up a fourth season. (Part one premieres August 15 , and part two starts September 12.) If there’s one thing EIP continues to get right, though, it’s lavish costumes, makeup, and production design, all of which are elevated in these five episodes. The rest of the show? Not so much. 

Chicago transplant Emily Cooper (Lily Collins) is still a good-hearted menace in her relationships and at work. This means her incessant meddling hasn’t stopped, much to the annoyance of her colleagues (and oftentimes, the viewers). The marketing whiz that she is, Emily brings her personal life into her assorted clients’ ad campaigns in unfathomable ways. A sexy rooftop factors into one brand promotion, and her breakup into another. Anyone else would’ve been fired for these missteps. Not our girl. 

Thankfully, Emily In Paris takes place inside what Paris in a snow globe must feel like. She’ll put on her best couture, strut about town, grab a drink and croissant with Mindy (Ashley Park) to talk about their problems, share a longing look with a love interest, and eventually, everything will be okay. Through this format, the show is desperate to remain lighthearted and whimsical. It’s actually pretty great at carving out that reverie-like tone and dialogue. But EIP suffers when it attempts to take itself seriously. 

A huge subplot with Emily’s boss, Sylvie (a magnifique Philippine Leroy-Beaulieu), revolves around her coming forward about the harassment she faced while working under the owner of a fashion house at her previous job. It’s a critical story, but the execution feels rushed instead of thought-out. EIP also suffers by putting Mindy on the back burner. Along with Leroy-Beaulieu, Park is a standout performer. She waltzes in and immediately commands the screen, pulling off extravagant outfits and doling out expert advice as Mindy. So it’s sad that a Eurovision-themed arc for her next step as a singer is launched in the premiere only to get abandoned as episodes continue. The assumption is season four’s second part will follow up on it, but by then, it’s only going to feel more dragged out.  

But don’t worry: Emily’s love troubles are still in the limelight. Watching her romantic tension play out is as good as seeing a hamster running on a wheel; it’s tedious and repetitive, but Emily In Paris won’t tire of it. Season three ended with Gabriel (Lucas Bravo) getting dumped at the altar, leaving a path open to date Emily after a lengthy will-they-won’t-they. But then where would the contrived drama come from? So, at least in the beginning, Emily and Gabriel try to figure out how to handle a new hurdle: Gabriel’s ex, Camille (Camille Razat), is pregnant with his baby. Camille might not have married him, but they’re about to become a family anyway, and Emily finds herself smack dab in the middle of their predicament.

Meanwhile, Emily deals with the fallout from shattering Alfie’s (Lucien Laviscount) heart. He doesn’t know how to process her betrayal or if he still wants her, which stretches this love triangle longer than it should. On the plus side, EIP allows Emily to make a final decision in a visually stunning installment, so let’s hope her choice sticks. But who are we kidding? Part two is going to find a way to dial up the theatrics. At least season four finds silly moments of comedy to balance the melodrama (think stories about penis pants, Gabriel’s ongoing pursuit of a Michelin star for his restaurant, masquerade balls, and more over-the-top parties). 

Emily is at the center of it all as a weird beacon of hope: If things  can go right for her despite her many mistakes, maybe the others have a chance. Collins’ syrupy performance remains intact for better and worse. She’s transformed into the fairy-like heroine she’s been aiming to be since 2020 but with not much growth. Part of the blame here is on the script, which doesn’t go beyond “Emily’s about to bulldoze her way into and out of a situation.” Thirty-five episodes in, she hasn’t been gifted with much character development, but it’s easy to get acclimated to her breeziness anyway. And that sentiment applies to the series overall. It’s curated to turn off your brain so you can enjoy the stylish French settings (if you can ignore the glaring stereotypes). But you can’t really fault the show for knowing e xactly what it is and giving viewers what they want. 

Emily In Paris season 4, part 1 premieres August 15 on Netflix  

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Good One Review: A Brilliant Lily Collias Saves Minimalist Drama

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A teen becomes the sad third wheel on a weird hiking trip, an exercise in subtlety and a study of disappointment, a superb lily collias acts out the themes, good one is slowcore cinema.

Good One marks the feature debut of writer/director India Donaldson. The minimalist drama took the festival circuit by storm with glowing reviews from Sundance and Cannes, and won accolades for Best Independent Feature in Boston and the Champs-Élysées Film Festival earlier this year. Shot in a cinéma vérité style, Good One follows a queer teenage girl on a weekend camping trip with her father and his struggling best friend. Star Lily Collias is a revelation here, mastering the character's sad disappointment in this very quiet narrative that will test the patience of any viewers who aren't already well-acquainted with arthouse or slow cinema .

17-year-old Sam embarks on a three-day backpacking trip in the Catskills with her dad, Chris and his oldest friend, Matt. As the two men quickly settle into a gently quarrelsome brotherly dynamic, airing long-held grievances, Sam, wise beyond her years, attempts to mediate. But when lines are crossed and Sam’s trust is betrayed, tensions reach a fever pitch.

• Lily Collias is astounding in her first lead performance. Expect big things.
• Subtle and thoughtful themes about disappointment and the different worlds of men and women.
• It's an extremely slow movie that will disappoint anyone expecting drama or detailed narratives.

In New York City, 17-year-old Sam (Collias) hangs out with Jessie (Sumaya Bouhbal) in her bedroom while preparing for a hiking trip. The film establishes their level of intimacy when Sam changes her tampon in the bathroom as they talk. Meanwhile, her father Chris (James Le Gros) argues with Sam's stepmother while their young son runs around the duplex apartment. Chris, an experienced hiker who's taken Sam with him since she was a child, has a very specific order for arranging his supplies.

Chris' friend Matt (Danny McCarthy) and Matt's teenage son were supposed to accompany them on the trip, but when they arrive at his brownstone, they see Matt arguing on the steps with his son. Matt throws his backpack in the car with a huff. He'll be going on the trip alone. This unnerves Sam, who thought someone else her age would be coming. Even worse, the recently divorced Matt complains bitterly about his life and how everything he'd worked hard for has fallen apart. Chris listens to his complaints, and Sam begins to feel further ignored when Chris and Matt make her sleep on the hotel floor before the long hike begins.

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Good One baits you with perceived rising tension. Matt speaks about his depression out loud in a desperate attempt for some kind of solace. He's completely unprepared for such a difficult hike. Chris wants to empathize with Matt, but also doesn't want him lagging behind and struggling. The film is primarily told from Sam's observant perspective. Donaldson uses her as a cool, collected, and initially calm sounding board for the older men. You're led to believe that something explosive is developing as the group winds their way through the woods. Nothing really does, and that might be a big letdown for some viewers.

Good One is an exercise in subtlety. The plot just ambles along. Donaldson employs slice of life realism to frame her characters. They're ordinary people taking a weekend off and discussing issues throughout. The conflict that ensues — and that term should be used lightly — occurs like a feather floating in the wind. But it does trigger a change in Sam that encompasses every problem she has with her father. Sam is seen but never really heard. Chris loves and protects her unconditionally, but hasn't taken the time or effort to understand his daughter.

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Collias delivers a luminous performance that anchors the film . Sam is depicted from the start as mature, thoughtful, and unselfish. She's not exaggerative in any way. Sam never complains or wants to be the center of attention. She's aware beyond her years and provides a kind ear when needed. Sam gives frank advice without being hurtful. She doesn't encourage Matt's woe-is-me demeanor, but is also cognizant of his fragility. Chris doesn't recognize or take her concerns seriously about what transpires. You can feel her sorrow and disenchantment at the person who should be her biggest advocate and supporter.

Donaldson has Sam menstruating throughout Good One , something that is rarely portrayed accurately in film. Donaldson deserves credit for highlighting a process that every woman deals with as a normal part of their lives, one which contributes to the film's essential theme ( the realization that men and women live in different worlds, and we're usually ignorant about each other ). They go about their business with most men completely unaware that it's happening . Sam doesn't skip the trip or ask for special treatment apart from privacy. She wants to be with her father on the hike. She realizes that even if you're with someone, they might not be there.

Kelly Reichardt Films, Ranked

Kelly Reichardt is one of the most important American auteurs of the last 20 years, with unique films that have realistic insight into everyday life.

Good One has been critically lauded and compared to the work of the masterful Kelly Reichardt ( Wendy and Lucy , Meek's Cutoff , First Cow ), probably because of her masterful film Old Joy , which followed two adult friends on a nature hike and captures so much by doing so little. Donaldson may follow in her cinematic footsteps, but that's extraordinary praise. Reichardt's films are mesmerizing in every frame. Good One will honestly be a chore for most people to sit through; 90 minutes seems like hours as the characters plod along . Good One will probably bore most audiences, but can be appreciated for its acting and meaning. At best, it's a platform for Collias' significant talent. Keep an eye out for her next role.

Good One is a production of International Pigeon, Smudge Films, and Tinygiant Baird Street Pictures. It will have a limited theatrical distribution from Metrograph Pictures on August 9th. You can find information and tickets here .

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‘blink twice’ review: channing tatum and naomi ackie in zoë kravitz’s skillful but scattered #metoo thriller.

A tech mogul invites a waitress and her friend to vacation on a private island in the directorial debut, also starring Adria Arjona, Alia Shawkat, Simon Rex and Haley Joel Osment.

By Lovia Gyarkye

Lovia Gyarkye

Arts & Culture Critic

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Channing tatum says he "didn't really know" zoë kravitz before she sent him 'blink twice' script, with an assist from riley keough, zoë kravitz thanks channing tatum for "trusting me to female direct you" at 'blink twice' premiere, blink twice.

It’s lucky, then, that the next evening, while working as a waitress at a fundraising event, Frida comes face to face with Slater. Their encounter is clumsy but electric — a meet-cute fit for a romantic comedy. She trips on the hem of her dress; he helps her up and holds her gaze. Later that night, as the party thins, Slater asks Frida to fly with him and his crew to his private island. She eagerly accepts the invitation and conscripts her best friend and roommate Jess (Alia Shawkat) to come along. 

If Triangle of Sadness , Glass Onion and The Menu have taught us anything, it’s that a group of strangers in a secluded locale spells trouble. Kravitz, who co-wrote the screenplay with E.T. Feigenbaum, quickly establishes Blink Twice as both social satire satire and horror, yet balancing the two proves to be more challenging as the narrative revs up.

Unlike recent eat-the-rich offerings, Blink Twice is only partially about ultra-wealthy bacchanalia. Soon after they arrive, Frida notices strange occurrences on the island. A maid (María Elena Olivares) repeats odd phrases to her; Jess disappears, and Frida realizes her memories are an increasingly patchy assemblage of images. Why can’t she recall the origin of random bruises or the dirt under her fingernails? A similar thing seems to be happening to other women on the island, including Sarah ( Hit Man ‘s Adria Arjona, excellent), a former contestant on a Survivor -like reality show with whom Frida competes for Slater’s attention. 

Kravitz is primarily interested in sexual violence against women and the psychic toll of trauma. Her film echoes Emerald Fennell’s Promising Young Woman , except Kravitz delivers on gore. Vengeance here is, thrillingly, more than an abstraction. There’s also a drifting effort to investigate the simultaneous invisibility and hyper-visibility of Black women, especially early in the film when Frida is at work, but that is disappointingly subsumed by later action. 

There are a few moments when Blink Twice ’s busy narrative —  stuffed with twists and turns as it trails Frida’s gripping quest for survival — and its slippery visual language coalesce to realize Kravitz’s ambitions. But Blink Twice is ultimately too scattered, stretched thin by the demands of its weighted themes, conspicuous imagery, half-baked plot points and partially realized characters. 

If Blink Twice succeeds to the extent that it does, that’s largely thanks to a handful of striking performances. Tatum delivers a sturdy turn in a role that requires him to find subtler ways to wield his charm. But it’s Ackie and Arjona who really focus and energize the film. Ackie, who played Whitney Houston in Kasi Lemmons’ 2022 biopic , is a force, offering a powerful portrayal of a woman collapsing under the weight of her trauma. Her performance is raw and vulnerable, extending an invitation to understand the depths of Frida’s character despite the thin sketch.

Alongside Arjona, Ackie also builds a portrait of strength. The relationship between Frida and Sarah models and tests familiar dynamics between women, from petty jealousies to empowering alliances. It’s a credit to Ackie and Arjona that Frida and Sarah’s reactions to the reality of their ordeal register as genuine. Their curdling screams chill spines, their tears stir. The two actors don’t just explore the rage fueling Blink Twice ; they tap into it.

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