|
gptkbp:instance_of
|
gptkb:film
|
|
gptkbp:art_style
|
Cinematic aesthetics
|
|
gptkbp:box_office
|
$23 million
|
|
gptkbp:budget
|
$15 million
|
|
gptkbp:character
|
gptkb:The_Captain
gptkb:Abigail
gptkb:Carl
Yaya
Dimitry
|
|
gptkbp:character_development
|
Complex characters
|
|
gptkbp:cinematography_by
|
gptkb:Fredrik_Wenzel
|
|
gptkbp:country
|
gptkb:France
gptkb:Germany
gptkb:Sweden
|
|
gptkbp:critical_reception
|
Positive reviews
|
|
gptkbp:cultural_impact
|
Critique of capitalism
Exploration of relationships
Discussion on privilege
|
|
gptkbp:directed_by
|
gptkb:Ruben_Östlund
|
|
gptkbp:distributor
|
gptkb:Neon
|
|
gptkbp:edited_by
|
Josefin Asberg
|
|
gptkbp:features
|
Social commentary
|
|
gptkbp:follows
|
A couple's journey
|
|
gptkbp:genre
|
Satire
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
Triangle of Sadness
|
|
gptkbp:influenced_by
|
gptkb:The_Square
gptkb:Force_Majeure
Satirical films
Social dramas
Dark comedies
|
|
gptkbp:language
|
English
|
|
gptkbp:music_by
|
gptkb:Tomas_Nordström
|
|
gptkbp:narrative_style
|
Non-linear storytelling
|
|
gptkbp:premiered_on
|
gptkb:Cannes_Film_Festival
|
|
gptkbp:produced_by
|
gptkb:Philippe_Bober
Erik Hemmendorff
|
|
gptkbp:release_date
|
September 17, 2022
|
|
gptkbp:released_in
|
gptkb:2022
|
|
gptkbp:runtime
|
147 minutes
|
|
gptkbp:screenplay_by
|
gptkb:Ruben_Östlund
|
|
gptkbp:set_in
|
Luxury cruise
|
|
gptkbp:starring
|
gptkb:Woody_Harrelson
gptkb:Charlbi_Dean
gptkb:Harris_Dickinson
|
|
gptkbp:themes
|
Beauty standards
Power dynamics
Wealth and class
|
|
gptkbp:won_award
|
gptkb:Palme_d'_Or
|
|
gptkbp:bfsParent
|
gptkb:Academy_Award_for_Best_Film_Editing
gptkb:Berlin_International_Film_Festival
gptkb:Sundance_Film_Festival
gptkb:London_Film_Festival
gptkb:Toronto_International_Film_Festival
gptkb:The_Sundance_Film_Festival
gptkb:Ruben_Östlund
gptkb:TIFF
|
|
gptkbp:bfsLayer
|
4
|