The Square Review – Watch The Square putlockers movie online free

Watch The Square putlockers movie online free – When I saw “The Square” I didn’t see a film. I saw a mirror. A mirror that was held against our faces in order to make some of our most elusive flaws as transparent as possible. The protagonist of this film is a mere reflection of the most of us. He had a dream. He had a vision. And he became a part of this spiralling roller-coaster ride which perhaps took him to where he wanted to be or where he was destined to be. “The Square” explores themes of cohesion, incoherence, adhesion and confinement and drapes it with cartloads of cynicism to create a final product that looks exotic from the outside but is familiar, succulent and delectable from the inside. If you’ve seen this film just let me know how many times you thought you saw a square.

The Square Review – Watch The Square putlockers movie online free

The Square Review by Jesse Ung – A strange, uncomfortable and fascinating look at society

This is a hard film to describe and an even harder film to review but I’m going to try my best to express how I felt about it.

In an attempt to put it simply, The Square follows a modern art museum curator named Christian (played by Claes Bang), and some increasingly strange experiences which shape his views and understandings of the world he lives in and the people around him.

I had the chance to see this film on opening night at the New Zealand International Film Festival, and I am so glad I did. The Square plays like an increasingly bizarre farce, and while the film is indeed very funny (sometimes in shocking ways) it provides a consistently fascinating look at our behavior as people in society. Now I realize that isn’t necessarily innovative for a film in 2017, but that said, The Square dares to pose increasingly uncomfortable questions to its audience.

From the inherent narcissism of even the most ordinary of people, to the shallowness of popular culture, to the complex behaviors and interactions between people of disparate backgrounds. Again, these ideas are not necessarily novel, but the film presents them in a way that is consistently entertaining – even when certain exchanges on- screen are uncomfortable. There is a scene that takes place at a gathering of elite artists and sponsors that is as squirm-inducing as anything I’ve seen all year. I also must point out the constant use of dead-pan humor with verbal and visual gags throughout as one of the film’s secret weapons.

I would warn that this is not a film for everyone. The pacing is uneven, the structure is unusual, and there isn’t a whole lot of forward momentum to propel the film forward. But, if you are willing to meet the film halfway, I think you’re in for a fascinating, shocking, hilarious and uncomfortable (skewered) mirror into the society we live in.

The Square Review by lasttimeisaw – a sharp-tongued, rapier-like caricature aiming at our society

2017’s Palme d’or winner, Swedish absurdist Ruben Östlund’s social satire taps into the life of Christian (Bang), the curator of an art museum in Stockholm, which will descend into a tailspin after his wallet and smartphone is stolen en route to work one day by a confidence trick.

A significant step-up from his uppity marital disintegration inspection FORCE MAJEURE (2014), In THE SQUARE, Östlund has learned how to let his hair down with more brio and conceal moral condescendence among his sarcastic skits, which makes for a piquant contemporary comedy doesn’t flinch from touching many a raw nerve among audience, anyway, the joke is on all of us because there are something undeniably unsavory residing within every and each human soul, we can laugh about it, but more often than not, a twinge of self-awareness synchronously pulsates.

“The Square is a sanctuary of trust and caring. Within it we all share equal rights and obligations.” it is a motto from the museum’s latest exhibition, whose titular installation supersedes an august bronze statue in the opening (with droll maladroitness setting the keynote of the film), but can its underlying altruism transcend from artistic cant into something concrete in reality? Christian’s story will give us a wry answer.

A seemingly harmless plan (although Christian must deign to actualize it) to retrieve his stolen phone actually works, but before Christian’s euphoria subsides, it boomerangs. It only takes a sincere apologize and some explanation to mend the fences, which eventually deteriorates into uncanny paranoia and insidious physical affliction towards a minor is implied, in-congruent with the rest of the film’s farcical tenor, but it tests the boundary of how far THE SQUARE is willing to push the buttons, and Östlund shows judicious concerns about what is shown on the screen in slightly gnawing execution, and no easy recompense is dished up in the end.

Elsewhere, jokes are in full swing, starting from the opening interview of Christian from an American journalist Anne (Moss) about the gobbledygook on the museum’s internet, to a faux pas caused by a Tourette’s syndrome patient, and the ludicrous tug-of-war in Anne and Christian’s one-night-stand, apparently with a chimpanzee in the next room, until the dreadful irony in our click-bait media publicity with controversial, eyeball-grabbing gimmick, and a painful realization that it often works. However, the central piece, of course belongs to the hyped (which is on the film’s main poster) performance art of an ape-man radically terrorizing the entire guests of a banquet to a bitter end, motion-capture stuntman Terry Notary totally owns the one-off opportunity in the central stage to redefine primate mimicking and debunk how similarly animalistic we are underneath all the finery exterior, notwithstanding the whole act partakes of a well- orchestrated trick for the sake of scandalization.

A late-bloomer Claes Bang is perfectly apt in inhabiting Christian’s towering figure, dapper mien and jaunty disposition, oozing disarming charisma which veils his self-seeking nature to a degree we even tend to give excuses to him involuntarily (that boy is tenacious and annoying, how on earth his staff could upload that inappropriate video onto their public website without his imprimatur?), and in the gender politics spar with a gutsy Elisabeth Moss (although her part is shamefully peripheral, and her defense of “it takes two to tango” accusation is too feeble to register), which fortuitously hits the hot-button with the current power-abuse cleansing pandemic.

Forsaking a traditional score in favor of a cappella passages to heave the story’s emotional shift, THE SQUARE is a sharp-tongued, rapier-like caricature aiming at a society characterized by class- discrepancy (beggars galore in one of the richest country in the world is a disheartening antimony), patriarchy and apathy, redolent of a visceral tang of self-reflexive mockery with a knowing wink, that is the power of THE SQUARE.

The Square Review by Howard Schumann – Skewers the hypocrisy of the contemporary art museum world in Stockholm

According to Swedish director Ruben Östlund (“Force Majeure”), society today has turned its back on the social contract, the obligation that people not only express their concerns for other’s well-being but act upon them in concrete and meaningful ways. Winner of the Palme d’Or at the 2017 Cannes Film Festival, Östlund’s latest film, The Square, mercilessly skewers the moral hypocrisy of the contemporary art museum world in Stockholm, particularly taking aim at Christian (Claes Bang), the museum’s chief curator whose pretensions are repeatedly called to task in creative and sometimes bizarre ways during the two hour and twenty minute film.

Christian’s current project is to develop marketing for an exhibition that features a piece of artwork called “The Square,” a 13 x 13 foot illuminated space that seeks to create the possibility for people to bridge the gap between the ideals they hold and the way they actually behave. It is adorned by a plaque that reads, “The Square is a sanctuary of trust and caring. Within it we all share equal rights and obligations.” What this basically translates to is that anyone standing inside the square is afforded whatever help that they ask for from passersby, whether it involves money or just physical or emotional help.

Christian is “likeable enough,” but if the definition of hypocrisy is “the practice of claiming to have moral standards or beliefs to which ones own behavior does not conform, he is a walking example. The film begins with the curator being interviewed by personable journalist Anne (Elisabeth Moss, “Mad Men,” TV series) about his upcoming art project. It all goes well until Christian is asked to explain the meaning of the convoluted phrase, “the topos of exhibition/non-exhibition.” His inability to do so in a coherent manner unmasks his artier-than-thou façade and the interview begins to go off the rails.

Later on the street, Christian’s insecurity is reinforced when, after intervening to help a woman screaming that a man is trying to kill her, he is played for a sucker by con artists who rob him of his wallet, cell phone, and cufflinks. Using GPS to track his cell phone to an apartment building in a seedy part of town, he is persuaded by his assistant, Michael (Christopher Læssø, “Follow the Money,” TV series), to print threatening letters and drop them into each person’s mailbox with the address of a place to return the stolen goods. While this tactic eventually leads to the return of his materials, not having foreseen any consequences that might affect someone else, he is forced to deal with a super irate young man (Elijandro Edouard) who is persistent in demanding an apology from Christian who stonewalls the boy until he no longer can.

All of this sounds dark, but Östlund’s comic genius lifts the film to a truly innovative level with an abundance (perhaps an overabundance) of impressive set pieces. There is the homeless woman who brazenly asks Christian to buy her a Chicken Ciabatta sandwich without onions. The curator, who only wants to help, reacts testily by buying her the sandwich but tells her to pick out the onions herself. In another sequence, a member of the audience with Tourette’s syndrome keeps interrupting a museum Q&A presentation by the artist Julian (Dominic West, “Money Monster”), calling out obscene remarks directed towards the female host.

There is more. A fellow worker insists on bringing a crying baby to every meeting; a tug of war erupts over what to do with a used condom after Christian and Anne have sex together in her room (much to the chagrin of Anne’s Chimpanzee roommate); an ill-advised ad campaign promoting the new project showing a young girl being blown to bits inside the square goes viral which forces some changes in the museum’s personnel; museum donors rush toward a complementary buffet before the chef even finishes describing what’s being offered. The centerpiece of the film, however, involves Oleg (Terry Notary, “Kong: Skull Island”), a performance artist who does more than his share of frightening the attendees at a ball thrown for the museum’s well-heeled donors.

Oleg acts the part of an aggressive ape, grunting and screeching while mercilessly hunting its prey. The donors sit transfixed, protecting themselves while ignoring Oleg who jumps on tables, pulls people’s hair, and eventually assaults a woman until several men pounce on the aggressor, unleashing their most repressed form of violence. It is a scene that ranges from curious to funny to threatening to violent to just plain sad. While Östlund should be acknowledged for attempting to tackle an issue that has relevance for our times, the film’s message that an inordinate attachment to individualism and, what the director calls “The Bystander Effect,” threatens our ability to connect with others, is a comfortable illusion, a symbol of our malaise, not the cause.

What is more significant is the prevailing assumption of our culture that we are separate, disconnected human beings living in a random, indifferent, and deterministic universe. As Christian philosopher and priest Thomas Berry puts it, “The world about us has become an “it” rather than a “thou.” In The Square, the repetitive inclusion of Bach/Gounod’s beautiful Ave Maria suggests, however, that Östlund appreciates the fact that we may not be able to understand the needs and wants of others until we can awaken from the dream of a separate self to the truth of who we really are.

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