The Square

Winning last year's Canne's Film Festival coveted Palme d'Or prize and Oscar and Golden Globe nominated for Best Foreign Film at this year's awards season, Ruben Östlund's Swedish set The Square certainly comes to home release with some prestige attached to it but this bum-numbing epic that acts as a darkly humorous expose of modern art culture and more broadly an examination of humankind in general, is the type of film that will split viewers down the middle in regards to love and hate.

Following on from his critically acclaimed Force Majeure from 2014, Östlund continues on with his slowly paced and methodical way of story-telling as we here follow Claes Bang's art gallery curator Christian through what feels like a collection of mini-films within the larger whole as the all of a sudden under duress big-shot finds his life hitting a few roadblocks in the lead up to his gallery's opening of an exhibition known as The Square.

It's a seemingly simplistic set-up but Östlund's execution is anything but, as Christian's journey entails awkward romantic encounters with Elizabeth Moss's American Anne, a crayon carrying chimp, an extremely abnormal dinner function, an angry child and a viral video that is a catalyst to much of Christian's woes.

These occurrences all add up to a whole that combines to create an almost unnerving atmosphere and tone but they don't gel to create a cohesive narrative that feels all that apparent and while many will find messages and themes that are possibly there and possibly not there, it feels like The Square squanders some chances to be a genuinely effective dark comedy/expose as it gets lost in an abundance of over-long and over-wrought scenes that needed a much tighter edit.

One aspect of the film that can't be faulted however is Östlund's cast commitment to the cause with everyone giving it their all, with Bang and Moss in particular impressing in their roles, while the films few definitively laugh out loud scenes such as disrupted Q and A and the aforementioned dinner feel like scenes out of a much more well-rounded and engaging film.

Final Say -

An over-long and overall bloated arthouse offering, The Square has some nice ideas and potentially relevant messages but it's hard for them too shine through when the film around them is such a hard slog to endure.

2 viral videos out of 5

Director Ruben Ostland has followed up his 2014 Golden Globe nominee Force Majeure with Cannes Palme d'Or winner The Square. The film is both a satire of the cultural elite of Stockholm and a sad commentary about the separation between individuals both within circles and between circles. The lead character, Christian (Claes Bang), is the curator of a museum of modern art that seeks to draw attention and donors through avant-garde exhibits and over-the-edge social media campaigns. The film follows Christian through a few weeks of his life when one of the hot new exhibits is "The Square", an actual square in the museum courtyard that is meant to be "a sanctuary of trust and caring." But rather than show trust and caring, the movie The Square raises a number of troubling questions: How thin is the veneer of civilization? Can political correctness substitute for empathy? Is art whatever a curator chooses to put in an art museum? And enveloping these questions is the separation of the circle of Stockholm's cultural elites from the City's homeless and immigrant population, as well as the separation of individuals within the City's cultural elite. One set piece in particular portrays the inability of the Stockholm's elite to communicate on a human level: It is Christian's meeting with Anne (Elisabeth Moss), a publicist, the day after a night of sex—and a bizarre argument over what to do with a used condom. In this scene Christian is totally unable to say the needed words about what had happened between them. (Anne, an American, comes across as much more able to relate to others than any of the Swedes in the movie.) Another memorable scene is the one in which a banquet for museum donors is interrupted when the performer (Terry Notary), playing an ape, goes out of control. The diners, who are initially frozen by their need for decorum, or perhaps by their need to display political correctness, ultimately go ape themselves. Perhaps not a total surprise since the same donor diners had earlier stampeded their way to a luncheon in a lighter scene. There are many sub-plots in the film—some satirizing interactions within Stockholm's upper class, others between classes— perhaps leaving some viewers displeased by the way the film jumps without warning from one set piece to another. Others may dislike long stretches of art-film inactivity in many of the episodes—something that explains why the movie lasts for 2 hours and 22 minutes. Nevertheless, The Square does capture the alienation of modern society, and does it with plenty of dark humor.

First thought after leaving the cinema, what the f**k did I just watch?

If you are on the fence about watching The Square, here are a few things to keep in mind. First of all, you don't just watch The Square, you experience The Square. All 2 hours and 22 minutes of it, this movie is looong. The first half of the movie is brilliant and creative, in the second half you just get run over by Ruben Östlunds full force of artistic fury. Yes this movie is artsy, super artsy. If you are a fan of modern art then this is the movie for you, you will experience some of the most powerful artistic scenes in modern movie history.

second, this movie does not give a f**k about your feelings, The Square is not created for the plot, the movie is created to deliver a message. When the movie is finished the employees of the cinema you will be visiting won't have to clean up leftover popcorn from the floor, they will be scraping your jaws from it.

My girlfriend was crying on the way home after watching this, not because it is heartbreaking but because she had trouble processing what she just had experienced.

There you have it, I hope that a few of you have second thoughts about watching the movie now and that the rest of you can't wait to get hold of a ticket!

Fred out

You have to be astonished that this one collected a Palme. Not least, it evidently lies in the shadow of Haneke, winner of two recent Palmes for much better movies.

The satire on the art world, the rattling of the bourgeoisie, both seem too overdrawn to be effective. Sketches go on too long, as when the museum director videos his apology, or the ape-man detonates the society party. Cutaways that don't happen, or do but are merely irritating, seem like unsuccessful adaptions of Haneke's grating style.

A few folks left my screening up around the 90 minute mark, their patience evidently worn thin. They'd seen the best of it, like the director's fling with the journo.

Now, if you really want to see someone stick it right up the bourgeoisie, you can't go past Haneke's mordant misbehaviour in Benny's Video (1992).

Like almost everyone else reviewing here, my wife and I found this way, way too long. Maybe 45 minutes too long. Maybe an hour.

Scene after scene we found ourselves remarking to each other, "what was the point of that?" Just one example: the scene with the ape street performer ran for something like 7-8 minutes. We thought it could have been done in a fraction of that and nothing would have been lost. Then I later thought they could have done without it entirely and I'm not sure anything would have been lost.

The scene with the museum director given the speech on the steps of the foyer? What was the point? What did it add? Nothing that we could see.

Scene after scene we turned to each other and asked the same question.

So instead of being a tight 1:30 to 1:45 movie, this ran on for a tedious 2 and a half hours.

I have a personal rule of thumb when it comes to films. Movies that are written and directed by the same person are so often self-indulgent. I'm going to have to amend that to: movies written, directed and edited by the same person are invariably self-indulgent and way too long.

A good director here would have told the writer what was wrong with the script and suggested what needed to be rewritten. A good editor would have gone back to the director and told him that it was running too long and that by cutting this or that that the result would have been better.

Unfortunately this film has, needless to say, the same person in all three roles. and as a result, it's way too long and was just tedious.

Sorry, but I just don't understand the rave reviews some have given this. Yes, this is ALMOST a good film. But only ALMOST.