Film
Triangle of Sadness
Ruben Östlund's Palme d'Or winner skewers beauty, money and manners in three escalating acts: a model couple's transactional romance, a luxury cruise that curdles into disaster, then a desert island where survival skill quietly rewrites who's in charge. It's a slow-building comedy that turns genuinely vicious and viscerally gross. Best for anyone who enjoys watching the rich humiliated at length, in close-up, for a very long time.
If you liked this
The Menu2022
A chef exacts precise, escalating revenge on his wealthy diners in one of the sharpest, funniest class satires of recent years — controlled where Triangle of Sadness is chaotic.
But Tighter and meaner than a farce — this is a thriller with a scalpel, not a slapstick comedy with a mop.

Parasite2019
The same DNA — hierarchy exposed and inverted under pressure — but reworked as a nearly flawless thriller with tonal swings that will leave you breathless.
But Far tighter and more suspenseful; the satire is present but subtler, and there's no vomiting anywhere in sight.

Glass Onion: A Knives Out Mystery2022
A tech billionaire's private island, a cast of vapid rich fools, and a whodunit that has real fun skewering their absurdity.
But Cozier and more crowd-pleasing — a puzzle box with a happy ending rather than a bleak descent into anarchy.

The wildcard
Something you would not have found on your own.
Force Majeure2014
Same director, same obsession: watching a crisis peel civility off people in real time. This is Östlund working in miniature, years before he scaled the idea up to a cruise ship.
Östlund's earlier, smaller film does the same trick — a crisis (here, an avalanche at a ski resort) that instantly strips a man of his dignity and exposes the fault lines in a marriage.
But Quiet, domestic, and slow — no ensemble spectacle, no vomit, just one family's unraveling in close-up.

More like this (8)
The White Lotus2021
A luxury resort, oblivious guests, resentful staff — the same delicious tension between service and entitlement, stretched across a whole season.
But Slower and soapier, with more interpersonal drama than physical chaos or outright gross-out comedy.

Succession2018
Ruthless, hilarious, and precise about how the extremely rich talk themselves out of any human feeling — the verbal equivalent of the yacht scene.
But All boardrooms and dinner tables, no shipwrecks or islands — the warfare here is entirely psychological.

Ready or Not2019
A bride hunted through a mansion by her monstrous new in-laws — gleeful, bloody contempt for old money, played almost entirely for laughs.
But A straight-up horror-comedy with none of the arthouse ambition — pure genre pleasure, nothing more.

The Hunt2020
Elites literally hunting the less fortunate for sport — a blunt, bloody satire of class and politics that doesn't pretend to subtlety.
But More action movie than comedy of manners, and its satire lands with a hammer rather than a scalpel.

Knives Out2019
A family of entitled monsters circling an inheritance, skewered with real affection for the genre and a satisfying sense of justice.
But Warmer and gentler than Östlund's world — it wants you to leave feeling good, not queasy.

Snowpiercer2013
Class hierarchy as brutal physical geography — a train instead of a yacht, but the same rigid order waiting to be violently overturned.
But Grim sci-fi action with almost no comedy — a much colder, more punishing watch throughout.

The Rules of the Game1939
This is the film Triangle of Sadness descends from: manners and hierarchy exposed through farce that curdles into something genuinely cruel, one dinner party at a time.
Renoir's country-house farce — aristocrats and servants colliding at a weekend party — is the blueprint every modern eat-the-rich satire is quietly copying.
But Black and white, French, and nearly ninety years old — the rhythms take patience if you're used to modern pacing.

Dead Poets Society1989
Same target, pushed further: where Triangle of Sadness turns wealth's rot into vomit-comedy, this turns it into full-blown gore. The trashier cousin of the same idea.
A cult body-horror satire in which Beverly Hills' elite are revealed, quite literally, to be monstrous — gross, gleeful, and unforgettable practical effects.
But Cheap, campy, and genuinely disgusting — a different budget and a much less serious register entirely.

People
Cast
Harris DickinsonCarl
Charlbi DeanYaya
Dolly de LeonAbigail
Woody HarrelsonThe Captain
Zlatko BurićDimitry
Vicki BerlinPaula
Henrik DorsinJarmo
Iris BerbenTherese
Jean-Christophe FollyNelson
Amanda WalkerClementine
Oliver Ford DaviesWinston
Sunnyi MellesVera
Directing
- Anna HällgrenAssistant Director
- Christoffer SjömanAssistant Director Trainee
- Ruben ÖstlundDirector
- Rikard WaxinFirst Assistant Director
- Markus LusthSecond Assistant Director
- Mikel Cee KarlssonSecond Unit Director
- Linton LundinThird Assistant Director
- Yorgos KorakianitisThird Assistant Director
Writing
- Ruben ÖstlundWriter
Production
- Alexandros KakaniarisAssistant Production Manager
- Daphne DokoumetzidiAssistant Production Manager
- Dionysia DimitrakelouAssistant Production Manager
- Nikos DrekisAssistant Unit Manager
- Jovan MarjanovićAssociate Producer
- Mirsad PurivatraAssociate Producer
- Nina HaunCasting
- Pauline HanssonCasting
- Tora Greiff BergströmCasting Assistant
- Clemens KöstlinCo-Producer
- Faruk GüvenCo-Producer
- Giorgos KarnavasCo-Producer
- Julio ChavezmontesCo-Producer
- Konstantinos KontovrakisCo-Producer
- Marina Perales MarhuendaCo-Producer
- Olivier PèreCo-Producer
- Per Damgård HansenCo-Producer
- Alessandro Del VignaExecutive Producer
- Andreas RoaldExecutive Producer
- Bradley ThomasExecutive Producer
- Brina Elizabeta BlazExecutive Producer
- Dan FriedkinExecutive Producer
- Dan WechslerExecutive Producer
- Daniel SteinmanExecutive Producer
- Jamal Zeinal ZadeExecutive Producer
- Jim StarkExecutive Producer
- Lizzie FranckeExecutive Producer
- Micah GreenExecutive Producer
- Mike GoodridgeExecutive Producer
- Rose GarnettExecutive Producer
- Ryan FriedkinExecutive Producer
- Fiona MorhamHead of Production
- Danae SpatharaLine Producer
- Mouns OvergaardLine Producer
- Pierre WallonLine Producer
- Zahra WaldeckLine Producer
- Erik HemmendorffProducer
- Philippe BoberProducer
- George NounessisProduction Manager
- Ingrid SkagestadProduction Manager
- Panos KarabinisProduction Manager
- Rikard WaxinProduction Manager
- Michalis KyrimisUnit Manager
Recommended by
The Menu, The Discreet Charm of the Bourgeoisie, The Exterminating Angel, The White Lotus, Force Majeure, The Square