Writer & Director
Ruben Östlund
(FORCE MAJUERE)

Stars
Claes Bang, Elisabeth Moss, Dominic West and Christopher Læssø

Before entering THE SQUARE, you have two possible ways to view this Best Foreign Language Picture Oscar contender. See it squarely without any preconceptions and inner-thoughts or closely observe and analyse each of its ambiguous sides. Regardless of your selection, this 2017 Cannes Film Festival Palme d’Or winner deliberately subjects its audience to numerous forms of unconventional behaviour as it gradually tears apart the professional and personal life of its lead character, Christian (played by Claes Bang). He is the curator of art at the Museum of Stockholm who is planning a new exhibit, that unbeknown to him, is going to attract a mountain of controversy. As Christian’s work project progresses, an awry interview with Anne (Elizabeth Moss) and a particular incident that results with some of Christian’s private items being stolen, begin the unravelling of his reputation, career and life.

You have never seen a man’s life come undone in quite as bizarre and uniquely hilarious fashion as Christian’s demise unfolds in THE SQUARE. This non-dramatic mid-life collapse is just the backdrop, however, for the gloriously written screenplay to outline an unspecified number of themes and set-up a plentiful supply of superbly executed scenarios. These sequences extract intense curiosity from viewers with each one becoming increasingly suspenseful, just by way of the sheer unpredictability of their conclusions and their unsettling awkwardness. Another undoubtedly outstanding attribute of THE SQUARE is the realisation and representation of its thematic and sub-thematic content. Much of what can be recognised by viewers and the meaning behind its many eventualities is completely open to individual interpretation. As are certain developments during its conclusion. One of THE SQUARE’S more obvious elements is how each component of the screenplay cleverly plays a part in Christian’s downfall. So too are a few of its scenarios that will not only NEVER be erased from the memory but remain iconic in years to come. Need further convincing? You will struggle to find a more bizarre pre and post sexual encounter than the one had here. And you’ll never forget the performance artist who “entertains” affluent patrons at an event in the museum.

Whether it’s the truthful and irresistibly amusing mockery of art you’ll savour, an over-analysis of the vast thematic content on offer that you will devour or no particularly tangible takeaways you’ll have obtained throughout its couple of hours, THE SQUARE is indisputably thinking outside of the square in its clear efforts to stun, enthral and unnerve its customers.

4 stars