Östlund follows up 2017's estimable and startling The Square with something that at first appears to be less complex, opening with some easy jabs at the triteness of the fashion industry and social media influencers, then moving onto the equally easy target of the idle, entitled and amoral rich on a luxury cruise ship. Presented with such an open goal, the vitriolic barbs come thick and fast, with the rich passengers fully exploiting their position to humiliate the crew, who concomitantly accept their lot as serfs. A sea change is brewing, and accordingly, and actual storm breaks out which demolishes the superior airs of the passengers in a graphic and vicarious manner, the Marxist captain emerging from his cabin to get his own back on the cargo he depends on. Then another calamity in the form of a pirate attack leaves a small band of surviving passengers and crew on a desert island and the former social order is swiftly overturned.
It's tempting to think that Östlund got his second Palme d'Or at Cannes for this because the jury were simply too scared of being seen as anything akin to the primary subjects that draw the director's fire. But that would be reductionist: as on many occasions before, Östlund has oodles to say about social mores and disparities, and duly puts forth his arguments on a platter so skilfully as to pick up quite enough points for the award.
Where the film does fall somewhat short is in not nailing its colours to any mast since committing itself would naturally lead to vulnerability. This is reflected in a maddeningly open-ended denouement. But any frustration felt at this has to be offset against the fact that the two and a half hours to get there have provided so much sustenance.
7/10
