The Triangle of Sadness’s opening credits show male models wearing speedos covered in the star-spangled banner as they get doused in paint in a way that is reminiscent of Jackson Pollock’s art. For a while after the credits ended and the movie trudged along, I wondered what it meant. Was it a metaphor for something I missed? No. It’s Ruben Östlund’s way of introducing you to a film that is entirely void of nuance, elevating satire on class and power structures to a whole new level of ridiculousness. There is no metaphor; this is all rich people nonsense.
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