(a film review by Mark R. Leeper)

TRIANGLE OF SADNESS definitely emphasizes the three-part structure of a film, with the sections labeled "Part 1: Carl & Yaya", "Part 2: The Yacht", and "Part 3: The Island". There are some nice uses of bright colors, and a good use of space, with long sweeps through a tight backseat of a car, and using the fact that the same room can have very different dimensions in the way it would not in the real world. (At one point, the ceiling lights in the dining room look like thought balloons, but that is probably accidental.) The passengers on the yacht are the stereotypical spoiled rich: a weapons manufacturer and his wife (cleverly named Winston and Clementine), a bare-chested passenger who complains about a bare-chested member of the crew, a passenger who wants all the crew members to have fun for her entertainment, and so on. Somewhere near the halfway point, the film makes a sudden left turn into a world of political insanity. The Captain and a capitalist from Russia debate Marxism and communism, while the crew plays the "Internationale" in the galley. During a storm during the Captain's Dinner, the dining area goes totally bizarre. Then pirates attack the boat, and a small number of the passengers and crew end up on a desert island. The whole thing seems to be inspired by a combination of LA DOLCE VITA, various Luis Bunuel films, and THE ADMIRABLE CRICHTON.

Released theatrically 7 October 2022. Rating: low +1 (-4 to +4) or 5/10

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					Mark R. Leeper
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