Hacker Cinema
Triangle of Sadness
2022 · Film · 147 min
Directed by Ruben Östlund
A celebrity model couple are invited on a luxury cruise for the uber-rich, helmed by an unhinged, alcoholic captain. What first appears Instagrammable ends catastrophically, leaving the survivors stranded on a desert island in a struggle of hierarchy.
4 positive4 neutralfrom 8 commenters
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8 comments on Hacker News
'Movies' at Blockbuster level pivoted to ersatz carnival rides post-'Pirates of the Caribbean', focusing on safe IPs and simple plots designed to aid comprehension of the major story beats in the SEA markets without the need to resort to subtitles or dubbing.
'True' Cinema has been going from strength to strength the last decade, with even Netflix putting out Fincher spectacles like 'Mank' on streaming, and A24 bringing introducing a new audience to phenomenal Korean Cinema like 'Parasite' and 'Minari'.
Even in the traditional studio system we have been spoilt in recent years by a succession of Palm D'Or and Oscar winners like Anatomy of a Fall, Triangle of Sadness, Zone of Interest, The Brutalist, Oppenheimer and Killers of the Flower Moon.
Do film critics ever 'dial it in' without properly (or actually) watching the film?
I love Mark Kermode as a critic, normally, but for his review of Triangle of Sadness (imo a great film!) I don't think he was paying attention, or was even there.
See here https://youtu.be/ciJnhGNPS60 am I right?
Here are the only notables I can think of since Everything Everywhere
Triangle of Sadness https://www.imdb.com/title/tt7322224
Coming Home in the Dark https://www.imdb.com/title/tt6874762
Very true. Triangle of Sadness was a good movie kind of about this.
When the shit hits the fan the guy in charge of the bunker is going to be the one who knows how to clean off the fan and get the air filtration system running again.
> Hollywood is a reflection of audiences, and capitalism demands appealing to the majority
100% agree with your thesis. Appeal to the average consumer for soaking up maximum, predictable, risk-free money.
> > Counterpoint: it’s our culture that’s stuck.
Yeah, our culture isn't stuck. It's just average value of consumer tastes (as vetted by the market) that are.
Look at TikTok and Twitter, "Harry Potter Balenciaga" [1] and all the other weird memes. How quickly things get riffed on and incorporated into our collective consciousness and vocabulary.
Hollywood marketing can't keep up with the zeitgeist because it moves so fast. It's fickle, fleeting, risky, and unpredictable.
Niche interests are super long tail anyway. A24 is doing a good job at picking off large sub populations of indie/art house filmgoers (not exactly niche), but ultimately it's going to take a dramatic reduction in cost structures to cater to the entirety of the human interest graph.
I think we'll get there in the next 10-20 years. Generative AI and creative sandboxes like Unreal, Roblox, and VRChat will give creators the ability to make anything. We're not there yet, but we can start to see over the hill.
[1] Granted, this is a riff on the non-A24 film, "Triangle of Sadness" (though A24 tried to win the bid to buy it themselves)
There‘s no marketing conspiracy behind this. The Balenciaga meme is an homage to a quote from the first scene in the movie „Triangle of Sadness“. This scene contrasts H&M‘s commercial appeal with Balenciaga‘s contempt for the consumer. The meme even paraphrase the dialog from the movie.
Google is starting to look like an IT episode of "Triangle of Sadness" - https://youtu.be/VDvfFIZQIuQ
The rich are the Phds and the Management is a crew asleep at the Helm...suddenly Kubernetes takes a whole new meaning...
Are they even marketing these movies?
> The result is a fall movie season that has manifested the total disinterest of mature moviegoers, who are now unwilling to watch any of the well-reviewed/Oscar contenders. The list keeps piling up: “Till” ($8.6 million total), “The Banshees of Inisherin” ($7.8 million), “TÁR” ($5.1 million), “She Said” ($4.2 million), “Triangle of Sadness” ($4 million), “Bones and All” ($3.7 million), “The Fabelmans” ($3.4 million), “Armageddon Time” ($1.8 million), “Aftersun” ($790,000).
This is the first time I have heard of any of these.
Anyway, my wife and I used to love going to movies...but life changes (COVID followed by young kids) make that a lot harder. Our date nights are much fewer and far between and we prefer to spend them doing more high quality activities together. If we want to sit in silence in close proximity eating some tasty treats staring at a screen why wouldn't we just do that in our own home after the kids are in bed for the night?