[yasr_overall_rating]
A prestigious Stockholm museum’s chief art curator finds himself in times of both professional and personal crisis as he attempts to set up a controversial new exhibit.
“The Square” is a 2017 Swedish film written and directed by Ruben Östlund. The main character is Christian Juel Nielsen, played by Claes Bang, the chief curator of the former Stockholm Royal Museum now renamed the X-Royal Museum. The origin of the movie’s title begins when a historic statue is removed somewhat unceremoniously from the front of the museum. It is replaced by the hint of a larger exhibition intended to represent a communal safe space – a sanctuary of trust and caring.
As an exhibition, “The Square” is an interactional form of art. Every person entering the square must agree to provide assistance to anyone also in the square that requests it. For Christian, this lofty aspiration does not necessarily apply to his dealings with others in the real world.
A minor theme of the film is the nature of what often constitutes modern art. Is it really art, or the pretensions of would-be artists who don’t really have very many interesting ideas? Indeed some of the exhibits might leave patrons shaking their heads in befuddlement or simply chuckling at the silliness. If we as a society run out of new ideas are we then left with only greater degrees of outrageousness?
In terms of pacing, the producers and editors would have been wise to urge Mr. Ostlund to get to the point in several scenes with a bit more alacrity. Although a Swedish film, the dialog in “The Square” jumps back and forth between English, and Swedish with subtitles. The lags, however, are no fault of the language transitions or the cast, who in every instance do what is expected of them. Each role appears expertly chosen and the players are, without exception, engaging and articulate when they are given something to say. Nonetheless, some of the scenes without dialog linger too long and overstay their welcome.
As chief curator, Christian is well-regarded, relatively wealthy, and clearly enjoys his freedom. It is his journey that drives the meandering plot. Like the rest of us, Christian is often conflicted about his attitude toward the beggars he encounters in the street. Sometimes he helps them out. Other times not. Sometimes he says no at first, then changes his mind. His conflicted nature is emblematic of those of society-at-large.
Interestingly, the poor in Sweden are noticeably better off than the transients in the U.S. One woman in a coffee shop sitting at a table in the back soliciting money confronts Christian. He replies that he has no cash, but will buy her something to eat instead. Hesitant at first because she is unhappy with this alternate offer, the woman eventually settles on a chicken ciabatta. Christian is bemused by the decidedly lavish and presumptuous request but agrees to it anyway. Then the woman adds, “No onions.” Christian’s response is just perfect – as he hands her the sandwich he tells her she can pick the onions out herself.
The plot thickens when Christian and another man, a stranger, hear a woman’s call for help in a crowded pedestrian walkway. She begs for the men to protect her from an attacker she says is trying to kill her. Moments later, an enraged man runs into view in pursuit of the woman. Christian and the stranger intervene with body blocks, at which point the man leaves, apparently disgusted. However, Christian later learns that this was merely a diversion to relieve him of his wallet and phone. And so the story begins in earnest.
Later, when brought in to promote the new museum exhibit, two twenty-something marketing wunderkinds take things a bit too far. Actually, way too far – as they simulate the blowing up a child in the square as a way of transcending what they believe are otherwise boring youtube videos and other promotional vehicles.
Perhaps they are right. In an increasingly desensitized society, sometimes it seems that both marketers and artists are left with little choice but to take things up a notch. And then another. And another.
In the wake of public outcry against the video, Christian replies that “We mustn’t be afraid to push boundaries.” This comes off as a feeble excuse to espouse clichéd drivel, particularly as Christian’s high-sounding words are quickly overshadowed by the video’s impact on museum donations and his decidedly cushy job.
So what’s the point of this film, which clearly has one in mind? Juxtaposing real-life drama with the manufactured spectacle of the museum pieces provides an interesting study in contrasts. Certainly, the film is a statement of our increasingly two-tiered society. Then there’s the law of unintended consequences that is demonstrated more than once. Perhaps most salient is the vacuous nature of western culture. All of these issues the film tries to address, albeit imperfectly, with both heart and intelligence, as well as a runtime about a half-hour too long.
Available on DVD & Digital HD Tuesday, January 30th
