The Square

Christian is the curator of the X-Royal art museum in Stockholm. He is interviewed by journalist Anne, who struggles to explain museum parlance to a lay audience. The scene establishes his professional stature and his discomfort with public interpretation of art.

During a confrontation in a pedestrian zone, Christian discovers his smartphone, wallet, and cufflinks are missing. The thief uses a confidence trick, exploiting his trust. The incident sets off a chain of events driven by loss and suspicion.

Christian uses his computer to track the phone's position, and he and his assistant Michael trace it to a large apartment block. The search marks a shift from personal loss to a calculated investigation. The block becomes the focal point of the mystery.

They write a threatening anonymous letter demanding the return of the phone and wallet by depositing them at a nearby 7-Eleven. Christian also posts copies of the letter through every apartment mailbox that night. The plan escalates the tense situation and public attention.

Several days later, a package is left at the 7-Eleven for Christian, containing the phone and the untouched wallet. The seemingly successful outcome validates the risky tactic he employed. The incident reinforces his belief in control over the situation.

Eager after the plan's success, Christian attends a party where he meets Anne again and they spend time together. The encounter rekindles a potential personal connection amid his professional turmoil. The moment foreshadows looming complications in their relationship.

Afterward, they go to Anne's apartment, where they have sex. Anne offers to throw away a used condom, but Christian refuses to hand it over, leading to a tense argument about trust and disposal. The scene exposes friction beneath their budding connection.

Days later, Anne confronts Christian at the museum, asking if he feels the same way about their relationship. He evasively answers, and when she tries to call him afterward, he does not pick up. The emotional distance widens between them.

After picking up the first package, Christian is informed that a second one has arrived at the 7-Eleven. Michael goes to collect it and encounters a young Arab boy who demands an apology for the letter and threatens to create 'chaos' if he is not. The boy's anger intensifies the moral ambiguity of Christian's actions.

The boy visits Christian's home with his two daughters, presses him to acknowledge the family's grievance, and begins knocking on doors and screaming for help. In a burst of frustration, Christian pushes the boy down the stairs, and he later searches the trash for the note containing the boy's phone number, eventually recording an apologetic video.

Meanwhile, the museum pushes forward with promoting a new exhibition centered on The Square by Lola Arias, whose statement declares trust and equal rights and obligations within The Square. The project becomes a tool for public messaging and controversy. The tension between art and ethics deepens as the event unfolds.

The advertising agency proposes a provocative clip showing an impoverished girl entering The Square and being killed in an explosion to generate social media buzz. The video is published on the museum's website and YouTube channel after Christian gives his approval without watching it. The decision triggers immediate public backlash.

The clip goes viral, triggering vast negative reactions from media, religious leaders, and the public. At a press conference, Christian admits he violated protocol and steps down as curator in agreement with the board, while journalists debate the ethics of the stunt and his self-censorship.

Feeling guilty for his treatment of the boy, Christian drives back to the apartment block to find him and his family. A neighbor reveals they moved away, leaving Christian with unresolved remorse and a lingering sense of responsibility for what happened.