(I’m refraining from saying what he did, since, like everything else that happens in “The Square,” it’s too surprising to spoil and too weird to explain.) There are social forces and economic structures at work, he says, large historical tendencies that both extend and extenuate his guilt. Christian knows a billionaire — a donor to the museum — who might be able to throw enough money at the problem to solve it. Mr. Ostlund, whose film before this one was the squirmy, incisive “Force Majeure,” takes aim at some pretty fat satirical targets — art, taste, sex and money, for starters — and sprays buckshot at the audience as well as in his own face. If Mr. Ostlund lacks Mr. Haneke’s rigor and Mr. von Trier’s sadism, he at least has a sense of humor.

Source: New York Times October 26, 2017 18:11 UTC