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“There was one person throwing up in the dining room,” he recalled. “These are people that are very close to death.” During an Italian buffet, the waters got rough.

“The common-how you say it?-denominator was that they are old,” he said. Östlund made a reconnaissance mission on a yacht called Sea Cloud, observing the guests incognito.

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(In the film, a helicopter flies in Nutella to satisfy a patron.) A captain told him about a guest who had asked for the master-bedroom Jacuzzi to be filled with champagne, plus goldfish. One passenger had requested a special bottle of wine, which was “basically transported from the other side of the planet,” Östlund said. Writing “Triangle of Sadness,” Östlund and a researcher contacted crew members from upscale yachts and mined them for tales of decadence. “Bubbles, bubbles, no more troubles,” Burić growled. A server filled their flutes with Blanc de Blancs. The three boarded a mahogany-trimmed Jazz Age-style yacht run by the Classic Harbor Line, for a champagne-and-cheese cruise. He was joined by the Filipina actress Dolly De Leon, who plays the yacht’s “toilet manager” (Östlund loved the ring of “corporate bullshit”), and Zlatko Burić, a Croatian-Danish actor with Einstein hair and a Rembrandt face he plays a Russian oligarch who befriends the sozzled Marxist captain, played by Woody Harrelson. Östlund-forty-eight, with sandy hair and a beard-had agreed to take a sunset voyage after a screening at the New York Film Festival. “There are such strong hierarchies when it comes to these yachts,” he explained, with a capsizer’s smirk. Östlund’s latest, “Triangle of Sadness,” which won the Palme d’Or at Cannes, follows a fashion-model couple on a luxury-yacht trip that descends into seasick squalor and Hobbesian anarchy.

In “The Square,” a museum curator is pickpocketed and hatches a fool’s quest to regain his wallet. In “Force Majeure,” a father on a ski holiday sprints from his family when an avalanche approaches, to the disillusionment of his wife. Östlund makes deadpan comedies about the European élite. The Swedish filmmaker Ruben Östlund stood on a pier in Chelsea one overcast evening, smoking a cigarette and watching the Hudson River go by.

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