Triangle of Madness
An invitation to recognize the patterns you repeat... without letting them write the script.
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A Line To Keep
“You don’t have to be completely written by the script.”
A reflection on the roles we keep replaying
What if you changed the cast, but somehow kept the same story?
A new partner. A different boss. Another family dinner. Sometimes the people and circumstances change while the emotional choreography remains strangely familiar. In this companion piece to TRIANGLE OF MADNESS, we look at the psychology behind the roles we can fall into—Victim, Rescuer, Persecutor—and what happens when we stop asking who is the hero or the villain and start asking what belongs to us, what belongs to others, and where our agency still exists.
Behind the Film
A few references that shaped TRIANGLE OF MADNESS — and the belief that the roles we keep playing don’t have to decide how the story ends.
Psychology — The Karpman Drama Triangle
Three roles. One repeating story.
The Victim, the Rescuer and the Persecutor aren't fixed personalities. They're positions we can move into, sometimes within the same conversation. The model gives TRIANGLE OF MADNESS its psychological structure: different people, different situations, but often the same relational choreography. Maybe the hardest role to notice is the one you keep playing.
Cinema — Triangle of Sadness by Ruben Östlund
When social roles become absurd.
Östlund takes status, power and social behaviour and pushes them until the performance becomes impossible to ignore. That exaggeration inspires the first half of TRIANGLE OF MADNESS: colour, spectacle, hierarchy and characters taking their roles very seriously. Sometimes you have to make the drama big enough to see how strange it is.
Cinema — Perfect Days by Wim Wenders
What happens when the drama stops.
Perfect Days finds meaning in repetition, silence and ordinary moments. Its patient observation becomes the visual counterpoint to the first half of our film: less spectacle, more space; less reaction, more awareness. Maybe stepping out of the drama begins with staying still long enough to see the pattern.
Theatre — Waiting for Godot by Samuel Beckett
The same scene. Again. And again.
Beckett turns repetition into existential comedy. The characters talk, argue, wait and return to the same questions, trapped in a structure that barely changes. It mirrors the central idea of TRIANGLE OF MADNESS: new partner, different boss, another family dinner — but somehow, the same scene. The scenery changes. The script survives.
THE LABELS Collection
Wear your heart on your sleeve.
Wear the label on your T-shirt.
Take back the power.
Maybe freedom is simply learning to see the script before you start performing it again.