Ruben Östlund’s The Square, which won the Palme d’Or at Cannes this past May, probably says more about the times we’re living in than any other film you’re likely to see this year. And yet the beauty of the movie is that everybody will have their own ideas about what, exactly, it is saying. It’s not a vague film, however. Östlund is specific and exacting as a writer and director, and within The Square’s empty spaces, we’re forced to confront our own values, and our own visions of ourselves.
That idea is, in fact, what The Square is literally about. In a contemporary art museum in Sweden, chief curator Christian (Claes Bang) prepares to host a conceptual art project called “The Square,” which is described as “a sanctuary of trust and caring. Within it we all share equal rights and obligations.” One could look at this square — it’s an actual square, by the way, carved into the middle of the courtyard of a royal palace — and lament the fact that the world has gotten to a point where such values can only be practiced in a small, 4-by-4-meter space, and only as part of an art project. Or one can see in it an example of the kind of idealistic and utopian thinking that could potentially sink a society. (What the hell does “a sanctuary of trust and caring” even mean, exactly?)
The language describing the installation suggests that humanity’s natural state tends toward equilibrium and fairness — or that these can at least be achieved by a kind of quiet, willing consensus. When such thinking meets the real world, of course, chaos ensues, and through its somewhat loosely connected, often hilarious vignettes, Östlund’s film questions our understanding of honesty, trust and fellowship. Be it through a bizarre argument in the wake of a sexual encounter about what to do with a used condom, a creatively calamitous plan to retrieve a stolen phone or a craven approach to marketing “The Square” itself, the film’s scenes suggest that our notions of integrity and community might be a lot more fragile than we think.
To add an extra layer of symbolism, “The Square” has been placed in the exact spot where once stood the statue of a monarch, further positing a debate between democratic values and those of a more hierarchical society. In the opening scenes, we see the old sculpture being removed by a crane, but a cock-up results in the statue coming loose and toppling awkwardly — as if it were one of those monuments to dictators that are periodically torn down on television by cheering, angry protesters. Who ultimately is responsible for order? And who measures equality?
Through a variety of episodes in Christian’s life and work, we see the failure of the kind of utopian thinking “The Square” represents. Is that what we’re seeing, though? Or is it the fact that Christian, as the successful and powerful head of a major art museum, cannot himself handle anything that smacks of genuine equality? Early on, we watch him walking to work on the street, amid dozens of other people. A woman runs, screaming for help, toward a nearby man, a stranger. Christian gets pulled into helping the woman, as he and the other man block a random angry dude from attacking her. Afterward, Christian and the other protective man congratulate each other and delight in the adrenaline rush of a good deed of physical bravery; the woman, meanwhile, is nowhere to be seen. Would these two have been so keen to help if the woman hadn’t prompted them to? Later scenes echoing this moment suggest that the answer might be no. And the fact that Christian realizes that his phone and wallet have gone missing immediately following the incident might mean that his supposed heroism was ultimately for naught.
Christian thinks of himself as a decent, fair-minded person. But his vision of himself is, as with all of us, selective. When he’s feeling good, he gives money to beggars; when he’s concerned and distracted, he ignores them. He’s a nice, fair-minded progressive in theory, but when less powerful people that he’s wronged confront him, he gets a “Why me?” look on his face. That Claes Bang manages to keep this man reasonably charming, even as the film interrogates his privilege and his very nature, is certainly some sort of achievement.
The Square is a film of set pieces, but perhaps the most impressive involves a museum gala dinner that is interrupted by a man pretending to be an ape (played by Terry Notary, the American stuntman and motion capture coordinator), whose antics at first seem entertaining and eventually become terrifying. The scene reiterates some of the key questions at the heart of The Square: When left to its own devices, does humanity find equilibrium or does it disintegrate into aggressors and subjects? And just what does it take for us to come to others’ aid? Where do we draw the line between the individual and society? The Square has a remarkably clear-headed and streamlined way of asking these many questions, but the answers it provides are always tantalizingly unclear.
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