
Flicks, Tony Stamp
Ruben Östlund’s Force Majeure took aim at a specific type of wounded masculinity, in ways that veered between comedy and tragedy. In his new film The Square, a similar satirical lens is applied to the art world. It might seem like low-hanging fruit, and Östlund definitely takes a few pot shots at pretension, but he lets his comically-barbed scenarios meander into other unexpected territories.
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