Page 2 November 2, 2017
Film
Elisabeth Moss and Claes Bang in The Square. Courtesy of Magnolia Pictures
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Seniors
Oscar-Worthy The Square Is a Satirical
Look at Affluence Through Modern Art
By H. Nelson Tracey
for www.cinemacy.com
About once a year, if we’re lucky, a movie
comes along that transcends the labels of
comedy, drama and other classified genres. It
will also prove that with top-tier filmmaking,
you can utilize a full emotional range to tell
a story. It is safe to say we have an entry
for this year in Ruben Östlund’s The Square.
A modern art museum in Sweden, vying to
be cutting edge while also needing to sustain
its overhead and encourage people to actually
visit, is getting ready for its newest, boldest
exhibit: The Square. At the helm of the
museum is Christian (Claes Bang) who lives
in a swanky apartment, drives a Tesla and
has no trouble scoring beautiful women.
Because this new exhibit is almost entirely
focused on helping people and trusting
strangers, Christian presents himself with
the challenge of upholding the artistic vision
of altruism throughout the rest of his life.
In reaction to his generally self-serving
behavior, the new exhibit pushes Christian
out of his comfort zone. Yet in every earnest
(or disingenuous) attempt to help other
people--his co-workers, the homeless, family
members--there is a bitter, comical pushback.
The results are absolutely hilarious, perhaps
because of how cringe-worthy and honest the
situations are as people react while trying
to fall into societal norms.
By using the world of modern art and
affluence as its backdrop, The Square allows
for bizarre features to be fair game while also
utilizing cinematic artistry when necessary.
Most importantly, this film is a satire of the
wealthy do-gooders who reek of hypocrisy
without even realizing it. In most American
films when we see characters who are wealthy,
it is typically either glamorized or normalized.
Here, as was true of his last film, Östlund
takes a critical examination of wealth in a
way in which we all can take a lesson.
To English-speaking audiences, a trio of
recognizable faces each play a supporting
role: Elisabeth Moss as a naive reporter,
Dominic West as a self-serving artist and
lastly, Terry Notary--whose name doesn’t
carry star power, but whose resume includes
doing motion capture for the Kong and Planet
of the Apes movies. Here, Notary plays a
controversial performance artist and I’ll only
say his animal motion capture work gets to
play off extraordinarily. The star of the film
remains Claes Bang, whose deadpan delivery
as Christian, no matter what scenario he
finds himself in, is both endlessly relatable
and at times hysterical.
It is not required that you see Östlund’s
last feature, Force Majeure, before you see
this film. However, it does prime you for
what to expect from his particular style.
His preceding film also deals with painfully
comedic scenarios of an affluent family set
in a ski resort. That being said, the ideas
and aspirations that Östlund introduced
in Force Majeure are delivered in greater
extremes in The Square.
It’s too early to see what the competition
will be for the Best Foreign Language film
Oscar. History has proven that this specific
category has some of the most misguided of
the already fallible awards, but my reaction
would be that this film is a shoe-in.
Square represents the first truly amazing
movie of the fall awards season. The Square
is rated R for language, some strong sexual
content, and brief violence. 142 minutes.
Now playing at The Landmark and ArcLight
Hollywood.•
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