The film’s first act opens with an awkward dinner date with model Carl (Harris Dickinson) and his model-influencer girlfriend Yaya (the late Charlbi Dean), debating the etiquette and manners of who rightfully pays the bill. What appears to be a minor bickering turns into a hilarious debate on gender roles and relationship obligations, with hints of Östlund’s comedic writing stemming from personal experience.
The second act eases into the cruise yacht, where Abigail fleetingly appears as the efficient head of the ship’s all-Filipino cleaning crew team. The centre of attention is the entitled A-list guests, from young models Carl and Yaya to weapons tycoons and Russian oligarchs. Societal stratifications are represented by the upper-class guests, the frontline middle-class crew, and the invisible lower-class workers. Social mores and manners are eventually thrown up in a nauseating combination of food poisoning and a balance-loosing karmic storm disaster. The following day, things go from bad to worse as the yacht is blown up by sea pirates, sinking it to social oblivion.
The third act is when Abigail is resurrected on the island with Carl and Yaya, other ship guest survivors, and the head of yacht staff, the domineering Paula, who initially orders Abigail around. However, on a remote island where only Abigail is the only expert on the basics of survival, including building a fire and catching and cooking fish, the power dynamics have switched, and Abigail declares herself the leader of the pack.
Now, it is at this point that the film’s storyline even gets more cringe-worthy than the previous act’s ballet of body fluid excretions, when Abigail not only orders everyone around in a newfound fantasy of an alternate world of power-tripping but also rewards herself with young model Carl as her trophy sex partner. Carl complies with the promise of food and a captain’s shelter, not to mention the sexual satisfaction he also gets, at the expense of Yaya’s jealousy. Intriguing as it is, this plotline could fall flat with a less capable director and a less convincing actress. But then, Östlund’s perfectionist hand is ever-so-present, coupled with Dolly de Leon’s chameleon-like transformation into a modern-day version of an underclass lord queen of the flies.
The best part of this third act is the open ending, as the film climaxes into the final days of island life. Much has been discussed as to the interpretation of the ending, but without giving anything away, it is evident what happens next. Östlund just spares the audience the brutality of its reality, as life on a fantasy island cannot last forever.
Dolly de Leon has come a long way, from playing bit part extras in Filipino films to tackling a challenging role in a Cannes-winning movie, and presently getting recognition, with awards for her performance from the LA Film Critics Association, London Film Critics Circle, the Golden Globes, among many others, and is a strong bet for the Oscars. For a University of the Philippines Theatre Arts graduate, this recognition is a long-time coming.
The irony of Dolly de Leon’s story is her quiet struggle to survive in the Philippine film industry. While only getting nameless parts in films and TV shows, such as the stereotypical judge or doctor, she has to make ends meet by doing various odd jobs, including hosting children’s parties or doing corporate training. Like any overseas Filipino success story, it takes going out of the country to be validated with one’s talents and abilities. Despite the delay for Dolly de Leon, this is fortunately just the beginning.
The Japanese Film Festival is back for its 24th year in 2020 with this virtual edition streaming online from December 4 to 13, 2020.
It is a combined understated yet over-the-top performance from an unassuming role of a cruise yacht “toilet manager” Abigail turned authoritative cougar captain on a desert island. Still, Dolly de Leon meets these acting challenges and delivers an unforgettable cinematic performance in Ruben Östlund’s dark Swedish social satire TRIANGLE OF SADNESS. The 2022 Cannes Palme d’Or winner is a re-examination of class struggle and social manners and is broken into three parts, with the best shock saved for last.
