<em>Triangle of Sadness</em>

Triangle of Sadness

Triangle of Sadness

Whānau Mārama: New Zealand International Film Festival 2022
  • Fri 26 Aug 2022
  • 6:30—9PM
  • Len Lye Cinema
  • Rating: M
  • In line with current New Zealand restrictions for cinemas, conditions of entry to all Cinema screenings under the Covid-19 Protection Framework are:
  • o Face coverings to be worn
  • Booking recommended
  • As there is no allocated seating doors open 15 minutes before screenings, please come early to avoid disappointment
  • To minimise disruption no admittance to cinema 10 minutes after session starts
  • Hearing loop provided for the hearing impaired
  • Wheelchair spaces available. Free entry for a companion to assist an audience member who has a disability. Companion seat is automatically allocated when a wheelchair space is booked
  • A Coded Sessions
  • Sessions starting after 5.00 pm weekdays, all weekend sessions
  • (unless otherwise indicated)
  • Full Price: $17.50
  • Film Society/Film Industry Guilds/Community Services Card/Students: $15.00
  • Senior (65+)/Child (15 and under) $13.00
  • B Coded Sessions
  • Sessions starting before 5.00 pm weekdays or of a shorter duration and others as indicated.
  • Full Price: $14.50
  • Film Society/Film Industry Guilds/Community Services Card/Students: $13.00
  • Senior (65+)/Child (15 and under) $13.00

Gilded privilege comes a cropper when abruptly confronted by less luxurious reality in this brilliantly orchestrated satire awarded the Palme d’Or 2022.
“Wildly funny takedown of the super-rich aboard a superyacht that plays like Buñuel by way of the Farrelly brothers… The perfect comedy for our times.” — Phil de Semlyen, Time Out

After skewering the contemporary art world in The Square (NZIFF 2017), the Swedish director focuses his excoriating gaze on fashion, influencers and the ultra-rich in his English-language debut. Outrageously entertaining and unapologetically in-your-face, Triangle of Sadness divided critics and audiences at its Cannes world premiere but left no one indifferent.

This frontal assault on the superficiality of current times, capitalism, class, masculine insecurity, coupledom, social media and a whole lot else besides, roundly compensates for its lack of subtlety by its uproarious panache and shrewd underlying commentary, taking excruciating comedy to new heights.

Yaya and Carl, surface-beautiful and deeply shallow, are models – when they can get a gig. In the absence of catwalk strutting, Yaya constantly maintains her Instagram profile while Carl frets about the imbalance in their relationship – she earns more than he does, but she never picks up the swank restaurant tab. Are they a couple or just performing so as to boost the number of ‘likes’ from their social media followers? Bickering doesn’t sort anything out, but fortunately Yaya is offered a free trip on a super yacht. They may be the poorest among its grotesquely rich denizens, but unexpected circumstances mean Carl’s ‘hotness’ factor will become more valuable than any other wares that can be traded. — Sandra Reid

“Östlund’s wickedly funny English-language follow-up to The Square features none of the same characters as his 2017 Palme d’Or winner but employs much the same tactic of creating deeply uncomfortable situations for people more than comfortable with their privilege. It’s a Buñuelian strategy, à la The Discreet Charm of the Bourgeoisie, of which Östlund has become art cinema’s foremost practitioner. His operating theory here, floated amid arguments about capitalism and Karl Marx, is that beauty itself is a form of currency, albeit an incredibly volatile and fickle one, like crypto, that can crash at any time… Östlund 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.” — Peter Debruge, Variety

2022 | Drama | 150 min | Dir. Ruben Östlund

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