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Scene Map 60
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
1
INT. CASTING AGENCY / WAITING ROOM - DAY About fifty half naked men are lined up in a room. The queue leads towards an entrance to an adjoining room that has a handwritten “Maybe” sign next to it. Suddenly we hear voices and the men start to look further back along the line.
2
INT. CASTING AGENCY / WAITING ROOM - DAY Lewis points towards the exit and moves on. Suddenly he catches sight of someone standing further down the line and hurries of in his direction with the cameraman following. It's CARL waiting for his turn. In his hand he's holding his
3
INT. CASTING AGENCY / CASTING ROOM - DAY Carl is ushered into the room by THE ASSISTANT. He hands over his portfolio. The Designer flips through it without much enthusiasm until he reaches a fragrance ad that features a close-up of Carl’s face that takes up more than half the
4
INT. CATWALK / RUNWAY SHOW - DAY The atmosphere is tense and a bit stiff, not only because this is the opening: at fashion shows, the audience is just as much on display as the models. Everything that is worn - clothing, shoes, accessories - every detail down to hair and
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INT. RESTAURANT - EVENING Later that night, Carl finds himself at an intimate restaurant with his girlfriend, Yaya. They have enjoyed a long meal together and the night is now winding down. Only one sensitive moment is still up for this relatively new
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INT/EXT. UBER CAR - NIGHT The rain is pouring down and Yaya and Carl are quite wet when they enter the Uber. Despite all, Carl is glad to have made it through all that alive and he’s repressed the irritation about the 50-euro bill.
7
INT. HOTEL / ELEVATOR - NIGHT The hotel elevator stops at their floor and the doors swing open. Both of them are soaking wet. Carl is in mid-rant. CARL You know, I don’t mind paying! I
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INT. HOTEL / CORRIDOR - NIGHT 8 As he turns to head for their hotel room, he faces a cleaning lady, staring right at him. Carl’s too upset to be ashamed and strides past her in the hallway. At first with determination – after all, it’s crystal clear that she was in
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INT/EXT. HELICOPTER - DAY The interior of a helicopter. We focus on a parcel that the copilot has on his lap. Through the window, behind the parcel, we see a turquoise sea flashing past. When the helicopter slows down and begins to hover, the copilot opens
10
22 INT. YACHT / LOBBY - DAY 22 We cut to the lobby and see that the voice belongs to the Chief Stewardess, who’s gathered the service staff for a pep- talk. Everyone in the room is sporting the ship’s uniform: a white polo shirt, blue slacks, blue sailing shoes. They all
11
INT. YACHT / CARL AND YAYA’S CABIN - MORNING Carl and Yaya are passed out in the bed, tangled up in the sheets when ABIGAIL THE TOILET MANAGER knocks on the door. ABIGAIL (O.S.) Housekeeping!
12
EXT. YACHT / A DECK / FORWARD - DAY Yaya is posing in a bikini on the rear deck, Carl is taking the photos. After a couple of shots Yaya shows that she wants to have a look. Carl hands over the mobile phone to her and Yaya scrolls back and forth, commenting on the pictures.
13
INT. YACHT / RECEPTION DESK - DAY 20 seconds later, Carl rings the bell at the reception desk. While he’s waiting, his eyes wander to the items in the glass case. Carl is interrupted by the arrival of the Chief Stewardess that comes from the deck above.
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INT. YACHT / OUTSIDE CAPTAIN’S CABIN - DAY The Chief Stewardess is now hurrying along the fourth deck. At the end of the corridor the Chief Stewardess stops, knocks on a cabin door and listens. CHIEF STEWARDESS PAULA
15
INT. YACHT / DINING ROOM - DAY We enter the dining room where it’s lunchtime. A waiter walks up and places a Nutella jar at the table of DIMITRY, a Russian billionaire. The patriarch sits with two women -- VERA, older, and
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EXT. YACHT / A DECK / FORWARD - DAY The shirtless crew member is ushered off the yacht onto a waiting speed boat. He says his goodbyes to fellow crew members. Carl watches from above.
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INT. YACHT / OUTSIDE CAPTAIN’S CABIN - NIGHT The Chief Stewardess comes walking along the corridor on the fourth deck again. She stops outside the Captain’s cabin, knocks on the door, listens. Not a sound. She knocks again. CAPTAIN (O.S.)
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EXT. YACHT / BAR / DECK - NIGHT Jarmo gestures to the bartender. JARMO Your most expensive champagne, and three glasses. Are these your
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INT. YACHT / CARL AND YAYA’S CABIN - NIGHT By the time Yaya reaches the cabin, the lights are out and Carl’s in bed with his back to the door. Yaya knows that Carl will be in a bad mood and tries to make her voice soft and tender.
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EXT. YACHT / A DECK / FORWARD - DAY Awkwardly Yaya “uses” boat props without having the slightest idea of how to handle them. After a couple of shots Yaya shows that she wants to have a look. Carl hands over the mobile phone to her and Yaya scrolls back and forth,
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INT/EXT. YACHT / BRIDGE / BRIDGE - DAY The Chief Stewardess hurries up to the crew deck. Before the Chief Stewardess enters the bridge, we have time to notice a portrait of Marx and one of Lenin and that the Captain’s chair at the helm is symbolically vacant.
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INT. YACHT / OUTSIDE CAPTAIN’S CABIN - DAY We follow her feet as the Chief Stewardess pops down to the fourth deck and the Captain’s cabin. The camera tilts up to show her face. The Chief Stewardess knocks and waits, but no one opens the door
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INT. YACHT / KITCHEN - DAY 44 In the kitchen, the Chef and four of his assistants are preparing the Captain’s Dinner. When the in-house phone rings, the Chef clamps the handset to his ear with his shoulder to keep on working.
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INT. YACHT / OUTSIDE CAPTAIN’S CABIN - DAY 46 The First Officer stops at the Captain’s cabin and is just about to knock when the PA system signals. *DING-DONG* CHIEF STEWARDESS (O.S.)
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EXT. YACHT / ENGINE ROOM - DAY One engineer shouts to another over the roar of the engine to come upstairs. EXT. YACHT / REAR DECK - DAY So, there they are, the entire crew. All lined up on the rear
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INT. YACHT / DINING ROOM - EVENING Paula and Darius escort the Captain into position. CHIEF STEWARDESS PAULA If you stand here, and they will be coming to you. Let me see you. Just
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INT. YACHT / DINING ROOM (AT TABLE #1) - EVENING As the guests read the seven-course menu, most of them regret not just staying in their cabins. Tonight’s gastronomical theme is a fusion between Cantonese and Swedish delicacies from the sea. A biased summary of the Cantonese cuisine is
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INT. YACHT / DINING ROOM (AT TABLE #2) - EVENING A subtle sense of anxiety now charges the air, which is evident in the subdued conversations. Fear of seasickness will slowly break down all the mental resistance to its existence. When the third dish is served...
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INT. YACHT / HALL - EVENING A maid cart rolls down the hall at top speed and collides with the wall. INT. YACHT / DINING ROOM - EVENING One thing you need to know about seasickness is that it is
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56 INT. YACHT / DINING ROOM (AT TABLE #3) - EVENING 56 The Captain’s plate is set down: a burger and some fries. For the guests, a severed octopus tentacle on a plate of flowers. WAITER So, now we are serving some
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INT. YACHT / CABINS & CORRIDORS (VARIOUS) - EVENING 57 The Chief Stewardess helps Clementine and Winston to their room. Clementine vomits in the hallway. Winston offers her his hat, where she deposits the next wave of vomit. CHIEF STEWARDESS PAULA
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INT. YACHT / DINING ROOM - EVENING 58 The last of the ravaged guests have vacated the dining room. Apart from the wait staff, busy clearing the tables, only the Captain remains with his burger. And Dimitry, who sits down across from him.
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INT. YACHT / DINING ROOM / CAPTAIN'S TABLE - EVENING The Captain and Dimitry are more than halfway through the bottle at the table. They play a drinking game with playing cards. CAPTAIN
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INT. YACHT / CAPTAIN’S CABIN - NIGHT Dimitry has locked himself in the bridge and plays with the Tannoy loudspeaker. DIMITRY Shit. I sell shit. I sell shit.
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INT. YACHT / HALL - NIGHT All over the ship, people panic. The passengers are soiling their linen outfits and the Italian silk sheets. They fill the toilets and shower with crap.
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INT. YACHT / DINING ROOM - NIGHT While the Captain is busy “preaching”, a crew of six Filipino cleaning ladies, wearing lab masks, march into the dining room. They clean the mess methodically. One of them has headphones on. We move in on her ear and one of the earbuds.
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INT. YACHT / CAPTAIN'S CABIN - NIGHT Dimitry and Chief Stewardess Paula argue through the door. The Captain turns back on the microphone. CAPTAIN (V.O.) How people perceive themselves is
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INT. YACHT / CAPTAIN’S CABIN - NIGHT The Captain and Dimitry gather with the light from a cell phone. CAPTAIN I want to read you something that I
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INT/EXT. PIRATE SPEEDBOAT - DAWN A second boat floats nearby carrying men with machine guns aboard. The Captain’s announcement echoes over the sea. THE CAPTAIN (O.S.)
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EXT. ISLAND / BEACH - DAY Jarmo sits with someone that is passed out on the sand. It’s a beautiful woman. It’s Yaya. The dress she wore to the Captain’s Dinner is soaked through, one shoe is missing and she's using her life vest as a pillow. Jarmo takes another
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EXT. ISLAND / CAMP - NIGHT The group is now huddled together on the inflatable life raft in a small clearing, surrounded by trees. In between the flashes from the lights attached to the life raft and life vests, you can detect the ocean between the tree trunks, but
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EXT. ISLAND / BEACH - NIGHT When the others reach the beach, they fall down on their knees and start to pray. Someone lights the emergency flare - it shoots up into the sky. CHIEF STEWARDESS PAULA
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INT/EXT. LIFEBOAT - DAY DIMITRY (O.S.) Open up! Open up! ALL Open up! Open up! Open up!
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EXT. ISLAND / BEACH - DAY Therese is dragged over in her life raft. The group is sitting on the beach spraying their mouths with the water spray and eating what’s left of the potato chips. They are all watching as Abigail catches an octopus.
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EXT. ISLAND / CAMP - NIGHT It’s dusk and the group is gathered around a campfire. Therese is sitting in her life raft. Carefully they study Abigail as she prepares and cooks the fish. Despite their hunger, there are no conflicts, but when the fish are to be
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INT. ISLAND / BEACH / LIFEBOAT - NIGHT Yaya, Paula and Abigail are gathering towels for the others when someone knocks on the hatch. It’s Dimitry and Jarmo, pleading, dangling their exclusive watches in front of the window.
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EXT. ISLAND / CAMP - MORNING The fire has gone out and the sun has risen a fair amount above the horizon. With a commanding presence, Abigail is standing in front of Carl and Nelson. Yaya and Paula teaming up behind her.
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EXT. ISLAND / MAIN BEACH - DAY Carl is anxiously looking for food in a pile of trash and belongings from the ship wreck. He finds something that catches his eye. CARL
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EXT. ISLAND / CAMP - NIGHT Darkness has once again enveloped the island. Our group of hungry castaways is sitting around the campfire eating. Carl and the pirate, now known as Nelson are being punished and will not be receiving anything to eat, but their empty
50
EXT. ISLAND / BEACH - NIGHT Yaya has left the others, sitting on a rock at the left end of the beach. She’s frustrated and upset, soon she will be feeling even worse. From a distance you can see Carl running towards her with a bag of pretzels.
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EXT. ISLAND / BEACH - MORNING Carl climbs out of the lifeboat. CARL (CONT’D) See you in a bit. Yaya passes by.
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EXT. ISLAND / HIGH GRASS AREA - DAY Nelson pushes some branches aside and slowly leans in to check the bushes in front of him. Dimitry and Jarmo are watching him a couple of meters from behind. All of a sudden, there’s a rustling sound, followed
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EXT. ISLAND / FLAT CLIFF WALL - NIGHT Everybody has now gathered in a half circle around a fire, facing a smooth rock wall. DIMITRY Hunter Jarmo! Big hunter! Give him
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INT. ISLAND / BEACH / LIFEBOAT - NIGHT Carl and Abigail are tangled up under the mosquito net. ABIGAIL I’m coming! I’m coming! CARL
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EXT. SHORE - MORNING Nelson shaves Dimitry’s face with a straight razor on the beach. DIMITRY So Nelson, you’re a pirate, huh?
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INT. ISLAND / BEACH / LIFEBOAT - DAY A hard knock on the hatch of the lifeboat wakes up Abigail and Carl, laying naked and tight together under the mosquito net. As Carl get up from the bunk and wipes away the steam on the inside of the shutter, he sees Yaya's face waiting
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EXT. ISLAND / JUNGLE PATH - DAY Carefully, Yaya makes her way through the thick vegetation with the machete. Abigail is a few steps behind her. Now and then, she looks at Yaya as if she would like to say something.
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EXT. ISLAND / STEEP MOUNTAIN - DAY Yaya & Abigail reach a steep mountain peak. Abigail is growing weary. YAYA I think it should be a little
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EXT. ISLAND / STEEP HILLSIDE - DAY Yaya and Abigail is now moving slowly forward on a brushy, steep hillside, close to the ocean. You can tell by their steps that they are growing weary. The waves rumble into the cliffs 40 meters below them, if
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EXT. ISLAND / UNEXPLORED BEACH - DAY It takes a little while for her to climb down the rock. When she reaches Yaya, she has sunk down in the sand. At the bottom of the cliff, twenty meters away, an elevator entrance in blasted steel is built into the rock wall. On the small

Triangle of sadness

In a world of wealth and excess, a group of models, billionaires, and crew members aboard a luxury cruise ship face a reckoning as they are forced to confront their own privilege and the underlying inequalities that shape their lives.

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Overview

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Unique Selling Point

What sets 'Triangle of Sadness' apart is its unique blend of dark humor and social commentary, making it a compelling narrative that resonates with contemporary audiences. The screenplay's ability to juxtapose the superficiality of the fashion world with deeper existential themes creates a rich tapestry of storytelling that is both entertaining and thought-provoking.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

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Claude
 Consider
Gemini
 Recommend
GPT4
 Recommend
Story Facts
Genres:
Comedy 40% Drama 50% Romance 25%

Setting: Contemporary, A luxury yacht and a deserted island

Themes: Authenticity vs. Societal Expectations, Class Conflict and Inequality, Gender Roles and Relationships, Survival and Resilience, The Superficiality of the Fashion Industry

Conflict & Stakes: The characters face survival challenges on a deserted island while navigating complex interpersonal relationships, jealousy, and power dynamics.

Mood: Darkly comedic with moments of tension and absurdity.

Standout Features:

  • Unique Hook: The juxtaposition of luxury and survival creates a compelling narrative tension.
  • Plot Twist: The revelation of Abigail's leadership and the power dynamics among the group.
  • Distinctive Setting: The luxury yacht and deserted island provide a visually stunning backdrop for the story.
  • Innovative Ideas: The screenplay blends dark comedy with survival drama, exploring social hierarchies in a crisis.
  • Unique Characters: A diverse cast with distinct personalities and motivations, enhancing the narrative complexity.

Comparable Scripts: The Devil Wears Prada, Crazy Rich Asians, The Hunger Games, Sex and the City, The Great Gatsby, The Bold Type, The Proposal, The Office (US), The Talented Mr. Ripley

Script Level Analysis

Writer Exec

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Overall Score: 7.83
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Emotional Analysis

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Themes
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Scene Analysis

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Other Analyses

Writer Exec

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Unique Voice
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Loglines
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