Starring-Claes Bang, Elisabeth Moss
Scott’s Review #814
Reviewed September 28, 2018
The Square (2017) is an eccentric Swedish language film that is highly interpretive and does not always make perfect sense the way a more mainstream film would.
This is both a positive and a negative as the ultimate message of the film is admirable, though some parts are both perplexing and downright bizarre.
The film was bestowed an Oscar nomination, undoubtedly for its bravery and cutting-edge approach, for the Best Foreign Language Film- subsequently, it lost to A Fantastic Woman (2017).
The X-Royal art museum in Stockholm, Sweden is the primary setting of the film. The action centers mostly around the museum’s creative director Christian (Claes Bang), who is new to the job and attempting to introduce a new installation called “The Square”.
A misunderstanding with a youthful public relations firm hired to make the exhibit as accessible as possible leads to controversy.
The film also interjects various sub-plots that are by and large interesting in themselves, but do not always make logical sense.
Bang is quite compelling in the lead role and the best part of the film for me. He is charismatic, a good father to his two daughters, and helps the homeless- even going so far as to help a young woman when nobody else will, only to find his wallet stolen- an unfortunate victim of a scam.
Furthermore, Christian’s desire to create “The Square” is quite humane and admirable- a safe zone for trust and compassion. The character is a good guy, but also concerned with his status.
Common themes of satire and human beings’ natural hypocritical nature abound. For example, in one scene Christian, proud to drive his flashy Tesla car and give money to the homeless, is then afraid to be seen in a run-down apartment house.
Later, a man with Tourettes syndrome disrupts an interview at the museum and is looked down on by “open-minded people” as a result. The latter scene is admittedly quite amusing as the man erupts with various expletives at the most inopportune times.
My favorite sequence by far occurs approximately mid-way through the film. As bizarre as the scene is, it is also riveting in its momentum and bravery.
When a group of well-dressed museum members gather for a lavish dinner and to watch a human art show, a bare-chested man who only grunts emerges and slowly begins to antagonize certain guests.
He begins pulling the hair of one woman while chasing one angry man from the hall. Shocking, intense, and thought-provoking are words to describe this scene.
But perplexing is what does the scene mean?
A treat for me was being able to view the frequent interior and exterior scenes of the famous Stockholm museum- of which I was privy to have visited in 2016.
So fresh was this experience that it brought back wonderful memories of not only the museum but of the gorgeous city of Stockholm itself.
The chemistry between Christian (who is Swedish) and an American reporter, Anne (Elisabeth Moss), does nothing for the film. In fact, it feels completely disjointed and unnecessary and there is little connection between the two characters.
Engaging in a one-night stand, the duo has a dispute about a used condom. Does Christian think that Anne is desperate enough to use his sperm and impregnate herself? The resulting spat between the two seems meaningless.
The Square (2017) is a very tough film to review.
Oftentimes disjointed and impossible to make heads or tails of, one would be wise to simply “experience” the film on its own merits. I am not sure I particularly need to view it again and try to figure out the plot because I am uncertain if that was the intent of director Ruben Oslund.
Having directed the wonderful Force Majeure (2014), a more straightforward and superior film, in my opinion, The Square is worth a watch in its own right.
Oscar Nominations: Best Foreign Language Film