At this year's film festival in Cannes, Swedish filmmaker Ruben Östlund was awarded the Gold Palm itself for his latest film The Square. With that, it became as official as it can get that he is not only one of Scandinavia's, but also one of the world's, most important and most interesting filmmakers.
However, that does not mean that The Square is his strongest film to date. But it is certainly a fascinating and far from uncompromising piece of film art, which is experienced both as a continuation of Östlund's filmography as a whole, and of the aesthetic course change he made with his previous film Tourist.
Codes and compliance. Östlund first directed ski films and then two documentaries, before debuting feature films with the tableau-based and documentary Gitarmongo i 2004. This tabloid style he cultivated in the subsequent feature films The involuntary (2008) and Play (2011), as well as in the short films Scene #: 6882 from my life (2005) and Event at bank (2009). And not least, he established here perhaps his foremost distinctive character as a filmmaker, in the form of a sharply observed and clumsily humorous exploration of social codes and associated conformity press.
Through the mentioned films, Östlund appeared as a kind of heir to his compatriot Roy Andersson, both with his static and controlled design language and his partly witty. . .
To continue reading, create a new free reader account with your email,
or logg inn if you have done it before. (click on forgotten password if you have not received it by email already).
Select if necessary Subscription (69kr)