#CannesGoldenPalm (Nominated for Best Foreign Language Oscar) The knight statue symbolizing personal heroism at the beginning collapsed, replaced by a square on the square, playing a word game with multiple squares. "In the square is love and trust, and within its boundaries, we share equal rights and obligations." To a certain extent, this slogan is indeed common. The two-and-a-half-hour-long film is like an art exhibition. There is no viral and fanatical plot, and even if there are some hilarious scenes such as intimidating thieves and indoor orangutans, they are all used for Reasonable examples are obviously less interesting to watch in such a long discussion. But the significance of the film is still worthy of recognition, subtly using the name of art to attack humanity with humanity. Because of the paradox and reverse discrimination caused by the high emphasis on equality, the general civilized public has developed various unwritten methods to protect their identities, embarrassing and polite: or emphasizing tolerance when facing Tourette's disease, or when encountering Tourette's disease. When beggars try to show enthusiasm, or in order to highlight their identity, they "actively integrate" into the queue to denounce and fight back against evil deeds, or always maintain peaceful and friendly contact with others.
But even so, it is still impossible to avoid being caught in a momentary predicament, or dare not step into the "slums" because of prejudice, or ignore well-intentioned activities due to daily running around (refusing to save a life, flooding refugees and beggars), or hindering Inappropriate behavior based on identity (black humor: ignorance of chefs preparing meals by high-class people who come to see exhibitions, openness of art museum curators to sex, stuffing threatening letters, conspiracy to repair accidental damage by cleaners) art, shirk responsibility in the face of emergencies, quarrel with a child who was wronged by a letter of intimidation, and rummage in the rain to find the contact information of a child who was thrown away by himself...), or face to face Dilemma between a controversial video, a media call for free speech and a call to care for the underprivileged, or begging for help in the face of the indifference of fellow passersby.
After all kinds of turbulent turmoil, people can still calmly and soundly find various reasons, get into the public camp, and maintain their identities. I can't help but feel that sometimes yelling is the best way to get people to stop and listen in a civilized society.
The most impressive climax of the film is the duel between the real and fake Monkey Kings. When people satisfy their material desires, drink and dance for primitive mating, real orangutans walk gracefully, leaning on the sofa to doodle paintings worthy of the curator's attention; when people pursue spiritual prosperity and attend dinner parties to appreciate performance art, The fake orangutan growled, jumped, and snickered, ignoring people's smirks, smiles, snickering and mocking, constantly offending the guests at the banquet and the audience in front of the screen, provoking the boundaries of moral civilization (fear of the beast without bottom line, so The disregard of bystanders to preserve their identities, from the fake orangutan touching a human rudely to trying to rape a woman, is so suffocating that it finally succeeds in angering them and stinging us. Of course, this psychological discomfort was successfully dissipated when the fake orangutan was beaten by everyone in the movie. We still shouted the square slogan, carefully and politically correct to defend the brick standing under our feet.
View more about The Square reviews
