Everyone at the Cannes Film Festival is talking about the vomit scene. For a full 15 minutes in the middle of Ruben Ostlund’s Triangle of Sadness, the stinking rich patrons of his doomed cruise yacht slither around in the proceeds of a sudden surge of seasickness, the result of a collision between a massive storm and the Marxist captain’s mischievous order to serve the guests sea urchin soup. It’s revolting, hilarious and makes everything Judd Apatow has ever done look tasteful. Later on, Ostlund will say that scene took six months to edit. Calm down, folks: that scene could have been longer.

Ostlund will walk away at the end of the festival with his second Palme D’Or, which puts him in a tiny group of two-time winners of the world’s leading film festival’s top award; his previous win was in 2017 for The Square, which was a skewering of the pretensions of the art world. Triangle of Sadness begins with a preface that suggests it is going to do much the same kind of job on the fashion industry, with Harris Dickinson playing Carl, a male model scrabbling for work as age catches up with him – the “triangle of sadness” is the wrinkle-prone area between the eyebrows – and the late Charlbi Dean as Ya Ya, his influencer girlfriend. This turns out to be just the entry point, however, to a much broader subject: inequality and its discontents, distilled and emphasised by the stratification of power and wealth on an unthinkably expensive cruise.