Swapping the marines for the movies has paid off for the star of Ruben Östlund's Palme d'Or-winning Triangle of Sadness.
“He’s a lot of work – he’s a prince, but he’s worth it.” “I remember, I’d be in the basement folding clothes and I’d get a call from an unknown number,” he says. It’s such a fun experience to just go to work every day and the goal is to have a good laugh. But there was a tragic coda to the film when, in August, it was announced that his co-star “But then on a film like Ruben’s, you’re being used all the time and you’re striving to be great in every way,” he goes on. He then took a film studies course at college but didn’t enjoy the assignments and fell out with one of his teachers. Her brother was quickly forced to clarify that she had had a lung infection that may have been complicated by the removal of her spleen after a car accident in her late teens. “Just someone who’s immoral and unstable.” Then he turns serious: “I hope to God I’m not Carl.” “When I do a character or a project, I really want to get into the role,” he tells me. “Listen, I work in a garage on Saturdays,” he jokes, “so that’s how successful it was.” He doesn’t come from a world of privilege and is the closest to hinting that its excesses can be repulsive. When Harris Dickinson was recently cast in the film role of a character named Carl, he was briefed that he was playing a car mechanic who was scouted on the street to be a male model and sent to the shows in Paris.
The English-language debut by the Swedish director behind Force Majeure and The Square is heavy on pukey anarchy and lazy class satire.
The fiasco is spectacular, but it is profoundly cynical and apolitical in tone. Some among them are cooly evil on top of being smug, as in the elder British arms dealers Winston and Clementine (Oliver Ford Davies and Amanda Walker). Echoing the reversal of fortune in Lina Wertmüller’s Swept Away (1974), Triangle features an excellent performance from Dolly De Leon as Abigail, once a toilet cleaner aboard the ship and eventually the only person everyone depends on for survival. There is a relentlessness to Östlund’s approach, scenes which go on to excruciating length, whether depicting Carl and Yaya’s argument over who pays the bill or the cruise guests falling over themselves as the ship’s raw sewage explodes in giant plumes around them. Triangle of Sadness, as anticipated, is a juicy disaster movie where you get to revel in terrible things happening to the very rich and blindingly privileged. The cruise staff’s masochistic insistence that everyone eats the gelatinous haute cuisine before them during a stormy dinner service devolves into a scene of pukey anarchy that is certainly as revolting as promised and longer than you could possibly imagine, with bodily sounds echoing the sheer grossness of La Grande Bouffe (1973).