“The Square” — A Palme d’or, cored

Photo: EyeSteelFilm
The presence of an american journalist (Elisabeth Moss, very toned) gives us scenes of anthology.

Rarely do comedies get the Palme d’or at Cannes, but the kind produced of pearls, and last may The Square, Swedish Ruben Östlund, received the statuette coveted on the Croisette.


This fable scathing, smart and silly deserves the honors, with the mirror tended to a left-caviar, well-thinking, who laughs yellow in the ranks of the spectators in front of his fierce glare. Spins story are teeming with ideas in self-deprecating pickling.


In his previous film, Force majeure, the Swedish filmmaker demolished already brilliantly the inner workings of bad faith on the male through a psychological thriller, where the father of a family skating on his cowardice. If this time is the great ambition of satire in dilute sometimes the unit, into the abyss is impressive, with various pieces of bravery served even raw, on canvas similar : a dominant male, confronted with its own contradictions on a rocky road, stumble in his laces and loses the foot.


By this anti-hero-like young first, it is a society of privileges that the filmmaker dynamite, across western, color Swedish simply adds a touch more social to the power struggles that are encountered everywhere.


The Square is based on a thesis : the failure of civilization and its killing next, visited with similarities by Michael Haneke in Happy End. Ruben Östlund is a scenario that never ends to deviate from its apparent path, in the weakening of the tracks with a fun, contagious, replica tasty and staging inventive and bouncy.


Close-up of a Christian, beautiful, grand and without reproach curator in a museum in Stockholm (the Danish Claes Bang, flawless). He supports noble causes, without perceiving their own status as privileged. But here is that after stealing his wallet and cell phone flying to the rescue of a bandwidth, it will stop at any method doubtful for recovery, and ends by exposing its hidden assumptions.


As to the new expo museum, a priori, intended to create a space of generosity and sharing, it is a scam, in advertising campaign is shameful, that will be a scandal.


The presence of an american journalist (Elisabeth Moss, very toned) gives us scenes of anthology : an interview, part of legs in the air with tribulation of a condom all gender war undeclared, a comedy completed.


Another highlight of the film : the dinner benefit the museum with fancy guests, as an agent provocateur, monkey man stalker and coarse (Terry Notary, the actor roles ape-like in planet of The apes and the last King Kong), perturb, on scenes burning discomfort in the series, pushed to a limit where some credibility is lost, but not the power of the animality thrown into a pasture for civilized living.


Ruben Östlund manages to marry the tones of its fast-paced scenario, it is peeling like the layers of an onion. Each door opens on another, sometimes to excess, but on a dark humor and compelling psychological violence with deadly efficiency. The filmmaker makes no quarters to anyone : neither to the public nor the artists, nor the directors of the fancy institutions, or even to the disinherited, to whom no one is in solidarity, referring back to back everyone up to the absurdity that the viewer is repaît with delight.

The Square

Comedy squeaky by Ruben Östlund. With Claes Bang, Elisabeth Moss, Dominic West, Terry Notary, Christopher Laesso. Sweden–United States-France–Denmark, 2017, 142 minutes.

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