The Square (2017) (Swedish & Danish Language)

Review

151min

Genre:        Comedy, Drama

Director:     Ruben Östlund

Cast:          Claes Bang, Elisabeth Moss, Christopher Læssø…and more

Writer:       Ruben Östlund

-Synopsis-

Set in modern day Sweden and the self-important world of modern art; a successful and liberal museum curator has his sensibilities and preconceptions challenged by an unexpected incident and his latest exhibition, unleashing confronting behaviour while raising uncomfortable questions about the gap between outward facade and genuine behaviour—in this cutting social satire from the writer/director of ‘Force Majeure’.

After expertly skewering gender roles and human nature in 2014’s perceptive and gloriously awkward ‘Force Majeure’, Swedish writer/director Ruben Östlund broadens his satirical scope and targets current liberal social norms and the very way we behave towards each other, in this occasionally surreal, often cutting and always confronting Palme d’Or-winning dark satire—for which British audiences have been kept waiting far too long to see.

Claes Bang stars as ‘Christian’, a suave well-to-do modern art museum curator whose cultivated existence is undone by a stealthy mugging, and his reaction to it. With the stresses of his latest exhibition ‘The Square’ piling up, and having to deal with self-styled contemporary artists ‘Julian’ (Dominic West) and ‘Oleg’ (Terry Notary), plus an odd confronting relationship with American reporter ‘Anne’ (Elisabeth Moss)—Christian is forced to reconcile his public stance towards the vulnerable in society with his own behaviour when the chips are down, and face some personally held preconceptions . . . which may prove uncomfortably recognisable to the audience.

Anyone familiar with Östlund’s work will know that he is more concerned with characters, human behaviour and the masks we wear than simply story, and ‘The Square’ is no exception. So if you’re looking for a concise plot, a recognisable or easily consumable three-act story with a clear payoff, or a satisfying resolution, then ‘The Square’ might not be for you. Instead the writer/director weaves together a sharp, cutting and perceptive contemporary social satire and a slightly surreal human drama, which is often hilarious and deliberately uncomfortable to watch, mixing in performance art to confront the audience with the way we perceive ourselves and the people around us—and the way we behave towards them . . . accordingly or not.

Both on its surface and in terms of its setting, ‘The Square’ is an almost parodical attack on the world of contemporary art, touching on the very paradox that is modern art itself—something which often requires no talent or ability to create, whose meaning is typically projected from the outside in, and is often pompous and pretentious in nature . . . like so many who uplift and surround it.

Yet beneath the superficial, amusing and sometimes confounding art world and high-society ridiculousness, the film’s satirical foundations are more profound and broad. Östlund takes aim at a pervasive culture of tolerance and inclusion which bends over backwards to avoid offending, often ludicrously and tragically unable or unwilling to see the world as it really is—while pulling no punches in dealing with the hypocrisy of champagne socialists, and their conveniently naive view of complex social issues.

There’s also no sparing the morally and intellectually bankrupt fast-moving media culture we live in, and the generation which voraciously consumes it . . . and then spits it out. Östlund gives us a comical but close-to-the-bone take on the simultaneously self-assured and self-unaware media and PR professionals constantly looking for zombie eyeballs, clicks and social media buzz in all the wrong places, and for the wrong reasons—while providing a subtle take on the ‘freedom of speech vs. causing offence’ debate.

The writer/director reserves his most sombre and subtle critique though for our attitudes and actual behaviour towards the most vulnerable in society. ‘The Square’ not only focuses a critical eye on poverty and the social class system, but it provides a look at recent European immigration which may prove particularly confronting (if slightly unbalanced) for a liberal, socialist-leaning country like Sweden.

The film unsurprisingly also boasts plenty of style, and more than its share of odd atmosphere, bolstered by an eclectic, often whimsical and occasionally melancholy soundtrack, featuring classical pieces, choral compositions and synth tracks galore. Meanwhile Claes Bang admirably holds the film together with a central performance which simultaneously depicts a decent relatable everyman, and a slightly unsympathetic privileged person, struggling to keep his cultivated existence from disintegrating while trying to save face throughout . . . ultimately forced to accept a sort of moral epiphany.

The Danish star is supported by an eclectic cast of Nordic actors, and a couple of formidable Americans too. Including Elisabeth Moss as the quirky journalist who personally challenges the collected curator, and movie movement guru Terry Notary (The Hobbit: An Unexpected Journey, Kong: Skull Island) who shines in a memorable if slightly abstract scene as an enigmatic performance artist, displaying his mastery of ape behaviour as a commentary on human nature—launching a savage attack on political correctness, and the social norms and graces which go out the window when the proverbial s**t hits the fan . . . where nature and instincts kick in.

‘The Square’ is no doubt a cutting satire about the self-centred, fragile, self-important and disposable social culture we live in, plus the morally suspect, fast moving digital media landscape which feeds it—yet this is also a hopeful story centred around the possibility of a more empathetic, tolerant and understanding society, which doesn’t rely on shame and guilt to make it so . . . and which cares beyond when it’s convenient and comfortable to do so.

The film will no doubt prove difficult for anyone looking for a neatly packaged narrative, a finely structured story or some sense of resolution for the main character—instead they’ll find something socially perceptive which confronts them with the comedy of our everyday lives, and perhaps leaves them wallowing in uncomfortable self-reflection.

For us though ‘The Square’ simply adds to Östlund’s growing reputation as a master cinematic ‘mirror-holder-upper’. Reflecting the ridiculous human behaviour and questionable social norms that constitute the ‘acceptable’ way of Western living, and the inconvenience of that pesky human nature which often gets in the way—all while doing an artistic service by cutting down to size those who take themselves oh so seriously . . . when they really shouldn’t.

The Bottom Line…

Skewering both the pomposity of the modern art scene and the unscrupulous nature of modern media . . . and those who voraciously consume it, Ruben Östlund weaves together an occasionally surreal, often hilarious and scathing black social satire. Taking on the very nature of contemporary Western society and how we behave towards each other, and encouraging confronting self reflection while slipping off the masks we wear—so that we may see the world as it truly is . . . and how it could be.

Similar films you may like (Home Video)

Force Majeure (2014)

A young, handsome middle-class Swedish family’s ski vacation at a posh hotel in the French Alps is thrown into disarray as they face an avalanche. When the dust clears and despite no physical trauma, the dad’s reaction to a seemingly life-threatening event shakes the family unit to its foundations and places everyone in an existential quandary that forces them to question the very nature of human relationships.

Directed by Ruben Östlund and starring Johannes Kuhnke, Lisa Loven Kongsli and Kristofer Hivju among others.

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