The Square ★★☆☆☆

“The Square” (2017), directed by Ruben Östlund, is a satirical exploration of the contemporary art world and societal hypocrisies. The film centers on Christian, a suave curator at a prestigious Stockholm museum, whose life unravels after a series of misjudgments.

The narrative kicks off with Christian’s wallet and phone being stolen, leading him into a morally dubious quest for retrieval. This personal debacle unfolds alongside his professional challenges, notably the promotion of “The Square,” an art installation described as “a sanctuary of trust and caring.” Ironically, the promotional campaign spirals into controversy, mirroring the chaos in Christian’s life.

Östlund’s film is peppered with absurdist scenarios, including a dinner party disrupted by a performance artist impersonating an ape, and a perplexing encounter with a journalist who inexplicably cohabitates with a chimpanzee. These vignettes aim to critique social norms and the pretensions of the art elite.

While “The Square” has been lauded for its ambition and dark humor, it often feels like a series of disjointed sketches rather than a cohesive narrative. The film’s 151-minute runtime is laden with protracted scenes that test the viewer’s patience, diluting the impact of its satirical punches.

Claes Bang delivers a commendable performance as Christian, embodying the character’s charm and underlying vacuity. However, the film’s tendency to overextend its satirical setups results in diminishing returns, leaving the audience more exhausted than enlightened.

“The Square” strives to be a cutting critique of modern art and societal mores but succumbs to its own pretentiousness. Its scattered narrative and overindulgence in absurdity render it a tedious watch, making it a square peg in the round hole of cinematic satire.