Unpack the wild twists and excessive vomit in new film 'Triangle of Sadness,' which won the Palme D'Or at Cannes earlier this year.
with surgical precision. Taken together, they compose an informal trilogy on privilege and contemporary male anxiety. But besides being trenchant examinations of modern life, his movies are also very fun.
And as a way to start talking about the movie, can you discuss the structure? What made you want to have the three distinct sections to the movie — opening with Carl and Yaya, moving onto the yacht and then on the island? Yes, definitely. But I think one thing when it comes to my films, I’m kind of mean to all of the characters. I’m not nicer to the poor than I am to the rich, I’m kind of mean to everyone. And for me, I think the reason is because I’m interested in when we are failing and when we are not succeeding in being good humans. I’m not so interested in when we succeed.
I have to ask about the vomiting sequence, when everyone on the yacht becomes graphically sick. Obviously, the extremity of it is part of the point, but how did you decide on the right amount of too much? I don’t think it is important if she kills her or not. I think the important part is can we identify with the possibility of her to do it? Then if she does it or not, okay, that can randomly play out in two different ways. And I think also that I had an idea that I wanted half of the audience to want her to kill and half of the audience to say, ‘No, don’t do it.’ So for me, it’s not interesting what she does, but that it’s possible for her to kill her.
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