The Square, la farsa del arte
The Square
The Square
The Square
The Square
The Square
Director:
Ruben ÖstlundGuión:
Ruben ÖstlundCámara:
Fredrik WenzelReparto:
Claes Bang, Elisabeth Moss, Dominic West, Terry Notary, Sofie Hamilton, Christopher Læssø, John Nordling, Linda Anborg, Jan Lindwall, Iman Mirbioki (más)Sinopsis(1)
Christian es un padre divorciado que disfruta dedicando su tiempo a sus dos hijas, es un valorado programador de un museo de arte contemporáneo y es de esa clase de personas que conducen un coche eléctrico y respaldan las grandes causas humanitarias. Está preparando su próxima exposición, titulada "The Square", en torno a una instalación que incita a los visitantes al altruismo y les recuerda sus deberes respecto a sus semejantes. Pero cuando a Christian le roban su teléfono móvil, su reacción no le deja precisamente en buen lugar... (Avalon Audiovisual Esp.)
(más)Reseñas (7)
Un espejo notable de la sociedad europea occidental contemporánea con su hipocresía y, al mismo tiempo, la búsqueda de ser correcta lo máximo posible. Muchas escenas excelentes, originales y acertadas en las que el espectador no respira, pero también muchas escenas que alargan la película para un metraje exagerado. Tal vez fue la intención de Östlund («¿Este objeto se convertirá en arte cuando lo pongamos en un museo?»), pero si fue así, no tuvo que ralentizar la película, solo debía haberla complementado con un toque de segundo plan. Menos significaría más. De todos modos, es una obra equivalente a Happy End de Haneke, que trata un tema similar.
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Ruben Östlund is probably the most interesting director and screenwriter of contemporary Scandinavia. Twice I rated his films with the full five stars, for his impersonal but brilliantly told stories. Here, however, I will be a bit critical – but really just a bit. The Square has a rather complex premise, and you have to think hard to understand what its creator is getting at. It features a number of inventive and original scenes, but its unnecessary long running time is to its disadvantage. The fact that the metaphorical square is supposed to be the contemporary Europe is still boggling my mind. In my opinion a rather interesting insight into the high Scandinavian society of today.
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A film brimming with meanings and food for thought - from the comic character of a liberal and an egoist, a satirical image of institutionalized art, to a broad metaphor of a society torn between selfishness and altruism. However, Östlund's strength is also his weakness. Unlike the comprehensive concept of Play the and the concentrated relationship study of Force Majeure, in The Square, the Swede wanders, looks for the exact timing of scenes and a disturbing moment when, due to their duration, meaning breaks. It has some great moments, but as a 142-minute film, it works more like a band for controversy and reflection. So: an important topic that is looking for the optimal film shape. For the Palme d'Or? An interesting, not entirely conventional choice. I appreciate the match I had with this. But I rank the previous two Ruben films higher.
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An interesting film, a sharp criticism of modern Swedish society – we could even say Europe, actually – and even though it is about Art, which I don't really seek out, I surprisingly enjoyed myself and the film caught my attention. The film has some interesting ideas, memorable scenes – strange sex with Elisabeth Moss, threatening letters being thrown into mailboxes in an apartment building, and of course the crazy psycho scene where Terry Notary converts a monkey at a company party, which makes it stand out even at an above average rating). Story****, Action>No, Humor**, Violence>No, Entertainment****, Music***, Visuals****, Atmosphere****, Suspense***. 7/10.
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No me sorprende que The Square me haya recomendado un conocido galerista. Es una película sobre arte, sus límites, lo que es correcto, lo que no, hasta dónde llegan los límites de lo permisible y la aceptación. Tal vez Suecia ahora se está debilitando en su hiper-correctitud y no sabe qué hacer, a pesar de tener un gobierno apoyado en la extrema derecha. Aprecio las ideas originales (exposiciones, actuaciones artísticas, monos en el apartamento...).
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Considering how highly this film is rated, I don't think I belong to its target audience. After all, I'm no intellectual who can see an art installation in a pile of construction material. Modern art is completely beyond me, so the long debates on the subject put me to sleep, and the shots without any plot (and there were quite a few) didn’t help much either. To make matters worse, the film suffers from political correctness. One star for the controversial clip, Oleg's primate and the hard-working cleaner.
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This is a film about how easy it is to lose something and try to find it again. But above all, it is a film about what art is, how far it reaches, and what we can perceive as art. There are quite a few good questions asked here, either actually or metaphorically, that are definitely worth pondering. Art and madness are interchangeable.
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