“Ships don’t just magically appear out of nowhere. They have skippers. I mean, in your world, right now, maybe they don’t,” says the character, Greg, to the protagonist, Jess. How ironic, when in fact, he is standing on a ship that appeared out of nowhere and has no skippers, and no crew at all, in fact.

I think those lines perfectly sum up the world Christopher Smith has created. In his world, there isn’t anything normal; everything is strange and mysterious and confusing. This is a good thing, and a bad thing.

The film is not short of events. After only 13 minutes, the wind mysteriously drops and the characters are swept into a fierce storm. From then on, the characters are forced through hell, quite a few times, with lots of blood and running, as a good thriller should have.

But although a lot goes on, not a lot is understood. The audience is indeed captivated, and intrigued to see what happens next, but we have no real grasp on why any of the events are occurring. Hints are thrown in every so often, like the blink-and-you’ll-miss-it mention of the Greek mythology that may well reveal so much. To briefly explain, the ship is called ‘Aeolus’, who was the father of Sisyphus, a devious sailor tasked by Hermes to roll a huge boulder up a hill, watch it roll back down, and repeat this throughout eternity. It is suggested that Jess’s treatment of her autistic son is the reason for her being punished in this way, but there is no conclusive evidence within the film that confirms this.

Don’t get me wrong, this film is exceptionally clever. A scene we’ve just been shown will be interlinked to the next and will all slot into place at the end. Well, everything except the ‘why’, but the dramatic storyline and gripping action of the film keeps us watching and makes it worthwhile.

Triangle reminds me a bit of Groundhog Day, just without the lovely-dovey parts and a happy ending. It is worth watching, but be prepared to feel a bit frustrated with the conclusion (if we can call it that).