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Title: The Square (2017)
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| Cast overview, first billed only: | |||
| Claes Bang | ... | Christian | |
| Elisabeth Moss | ... | Anne | |
| Dominic West | ... | Julian | |
| Terry Notary | ... | Oleg | |
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Christopher Læssø | ... | Michael |
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Lise Stephenson Engström | ... | Daughter |
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Lilianne Mardon | ... | Daughter |
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Marina Schiptjenko | ... | Elna |
| Annica Liljeblad | ... | Sonja | |
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Elijandro Edouard | ... | Boy with Letter |
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Daniel Hallberg | ... | Dark-Haired Advertising Agent |
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Martin Sööder | ... | Blond Advertising Agent |
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John Nordling | ... | Account Manager |
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Maja Gödicke | ... | Marketing First Assistant |
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Nicki Dar | ... | Nicki |
Christian is the respected curator of a contemporary art museum, a divorced but devoted father of two who drives an electric car and supports good causes. His next show is "The Square", an installation which invites passersby to altruism, reminding them of their role as responsible fellow human beings. But sometimes, it is difficult to live up to your own ideals: Christian's foolish response to the theft of his phone drags him into shameful situations. Meanwhile, the museum's PR agency has created an unexpected campaign for "The Square". The response is overblown and sends Christian, as well as the museum, into an existential crisis.
A clever, and insightful, but somewhat meandering, social satire that, in hindsight, feels more like a series of vignettes loosely connected by the films protagonist, a well-known museum curator. The satirical sections that focus on the Modern Art world are dead on, although with, perhaps too much restraint. For the most part they are so understated you might find yourself wondering if the filmmakers were intentionally being satiric; except for, obviously, the film's high-point "Welcome to the Jungle" - both its most humorous and chilling sequence - which literally has a punchline at the end. It could easily be argued the film is worth watching for this section alone. Primarily concerned with how individuals interact with society and the world around them, scenes often play out with the camera focused on one character's reaction as opposed to the action, or conversation, occurring off-screen. This can be a disorienting choice, and, at times, confusing, yet undoubtedly all that is intentional. But be warned, the film will make no attempt to tie up all its lose ends: some characters just drop out of sight, storylines are left dangling and the movie just comes to a stop as opposed to having a real climax. You can be left feeling poked and prodded by the film for having watched it, as opposed to rewarded. But, hey, it's Art.