"Square" — the awarded tape of Robert Estlund, which was clearly aimed at the prestigious European film awards relevance and topicality of artistic expression, in terms it is trying to take the bar high bunyanesque absurd surrealism, but it is not it turns out neither in one episode. First, the picture Estland not enough of the scenario elaboration, in no strong backbone of drama, events are strung one on another without a particular connection, tedious, viscous paced Scandinavian film aggravates the at the viewer's boredom.
However, the lack of clear intrigue — it is so bad, in the ribbon Estlund that the conceptual clarity, the author does not completely understand that he wants to tell him criticism of European tolerance is not always consistent, though, and can be seen in every episode. Already after his movie "the Game" Östlund has established himself as a subversive of the ideals of a multicultural society, by showing the consequences of Western spinelessness and unwillingness to confront aggression and violence parties of ethnic minorities.
In the "Square" a ernicheski the object of ridicule becomes the art Bohemians and more yourself the world of contemporary art, rarely is the viewer can see the entire his background, to understand how is formed situation, are sensation and "masterpieces" among the rich people and snobs. Östlund is trying to create ebonyline variant of the shocking socio-cultural hypotheses about Haneke that unmotivated violence in the Western world is the revival of the primitive impulse of human resistance to civilization as such.
One of the most memorable episodes of "Square" becomes a performance of the crazy Russian artist, whose prototype is obviously Oleg Kulik, in which the cultured animals is a threat not only bourgeois, but and civilization in General, shocking the art public. The Central a symbol of the film becomes an installation calling for tolerance of law, a kind of public framework which all including the main characters, break is outdated social definitions, rules and establishing, on which rests the Western society, but they can lower the level of conflict between the rich and socially disadvantaged groups, indigenous Europeans and the ethnic minorities.
Estlund as and heroes and tolerant European society, peculiar to a certain sense of guilt at the against the socially marginalized and stigmatized groups protect their right it built in the cult that it and kills, because these victim groups demand their in that would any has become (remember the great scene in bistro hero of the "Square" buys the beggar a sandwich). Exit of this absurd situation, in which the benefactor is always to blame, the Director is not see, except that continue the same bankrupt itself, the course of European tolerance.
"Square" — this is a story about the hopelessness of the situation in which we were all but also it and a brilliant satire on modern art, does not shun anything to attract the viewer's attention at least for a short time. Why Östlund chose the material of their study, this vicious snobbish little world? Because in him as the palm is visible to the entire spiritual poverty of the Western world, all chierichetti it ideals of failure to create, but only to compile and already shuffle the former.
"Square" Estlund — this picture is fake, congenial to the fact that it shows all its topicality and the severity — apparent. She wants to win the viewer's shock, substance, not having a backbone, the most important task. In contemporary art as in our time in General, and film Estlund, no drama, no nerve, and therefore no genius, or at least talent statements. It is a spineless world, from which removed the passion, love of life, of discovery, of creativity, in which material well-being finally killed sincere spiritual search. In this sense, the film Estlund — a portrait of the era, bearing the all its shortcomings, flawed and watery, she might not worth more, but this image screen.
