MOVIE REVIEW: Ruben Östlund's newest Cannes' award-winning social satire falls flat.
, Östlund’s earlier and best film of the three, won the top prize in Cannes’ Un Certain Regard sidebar in 2014. Not to besmirch the Cannes juries, but it seems to me that as Östlund’s ridicule grows more barbed, his aim grows less acute. His targets have become broader, ripe for pricking, while his projectiles never fully penetrate the surfaces.is structured in three acts, each highlighting the transactional nature of our social interactions.
The second act takes place aboard a luxury yacht, where Yaya has been invited to cruise among the super-rich as a reward for all her online followers. Carl accompanies her, but he functions mostly as a sidekick who is handy to have around in order to snap tantalizing photos for her to upload. Other members of this ship of fools include the likes of British industrialists who manufacture hand grenades and a Russian fertilizer oligarch who declares himself the king of shit .
Granted, these bloated upper-crusters make easy targets, and drowning in one’s own shit is a facile metaphor. Part three moves the setting to a remote island. Here the power dynamics are flipped on their head and only Abigail , one of the yacht’s housekeepers, knows how to survive. Everything is transactional and beauty is also a currency. Instead of skipping lightly over rough seas,
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