The Square goes on to poke further at the bubbles of entitlement and stuffy notions of politeness that guide supposedly upstanding folk into moments of madness. ![]() So when Christian goes around stuffing his mean notes under anonymous doors, the insanity-and strange logic-of what he’s doing is immediately apparent and transfixing. The curator endures the quiet indignity of losing his phone after being scammed by hustlers on the street, but the film has also already established Christian’s passive sense of superiority at work, where he’s respected by all as an intellectual and cultural authority. It may sound like a fraught idea, but Östlund meticulously lays out the case for Christian’s foolishness. A tracking app tells him it’s somewhere in a tower block in Stockholm encouraged by his co-worker, Christian decides to go apartment by apartment, floor by floor, posting a somewhat threatening letter under every door demanding the return of his stolen property. ![]() Early on in his new film The Square, which won the Palme d’Or at this year’s Cannes Film Festival, the well-to-do museum curator Christian (Claes Bang) takes it upon himself to right a perceived wrong: the theft of his cellphone. Nothing seems to fascinate the writer and director Ruben Östlund more than the life cycle of a bad decision.
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