The Square 2017
Directed by
Ruben Östlund
Made by
Magnolia Pictures
The Square Plot Summary
Read the complete plot summary and ending explained for The Square (2017). From turning points to emotional moments, uncover what really happened and why it matters.
Christian is the curator of the X-Royal art museum in Stockholm, formerly the Royal Palace. He is interviewed by journalist Anne, who struggles to explain museum jargon. The tension between art, perception, and accountability sets the stage for a series of unsettling events that blur the line between curator and public figure.
Later, Christian is pulled into a confrontation at a pedestrian zone, after which he notices that his smartphone and wallet are missing, along with his cufflinks, presumably stolen in a confidence trick. Christian is able to track the position of his phone on his computer, which he and his assistant Michael trace to a large apartment block. They write a threatening anonymous letter demanding the return of the phone and wallet by depositing them at a nearby 7-Eleven. Christian puts a copy of the letter through each apartment mailbox that night. Several days later, a package for him is deposited at the store, containing the phone and the completely untouched wallet.
Euphoric after the success of his plan, Christian goes to a party where he meets Anne again, before ending up in her apartment. After the two have sex, Anne offers to throw away a used condom but he steadfastly refuses to hand it over to her. They argue over the situation, as she believes he does not trust her to dispose of the semen rather than take it. Several days later, Anne meets Christian in the museum and states she is looking for more than casual sex. She asks him if he feels the same, but Christian is evasive. When Anne later tries to call him, he does not pick up the phone.
The day after picking up the package, Christian is informed that a second one has arrived for him at the 7-Eleven. Suspicious, he sends Michael to pick it up. In the store, Michael is confronted by a young Arab boy who states that his parents believe that he is a thief because of the letter and demands that Christian apologizes to him and his family. Otherwise, the boy threatens to create “chaos” for him.
Later, the boy visits Christian’s home and confronts him, along with his two young daughters, on the staircase. Christian tries to send him away but the boy begins to knock on doors and screaming for help. In a fit of frustration, Christian pushes the boy down the stairs, though no one comes to his aid. Disturbed, Christian desperately searches the trash outside the house for a note which contains the boy’s phone number. After finding it and unsuccessfully trying to call him, Christian records an apologetic video message.
In the midst of these troubles, Christian has to manage the promotion of a new exhibition centered on an art piece called The Square by Lola Arias, which is described in the artist’s statement:
The Square is a sanctuary of trust and caring. Within it we all share equal rights and obligations.
The advertising agency commissioned by the museum to promote The Square states that they need to harness social media attention with something other than the uncontroversial and bland artist’s statement. Advertising agency representatives consider a depiction of violence contradicting The Square’s message, developing a promotional clip showing an impoverished girl entering The Square and being killed in an explosion. The video is published on the museum’s website and YouTube channel after a distracted Christian gives his approval without viewing it.
The clip goes viral, quickly reaching 300,000 YouTube views, but receives an extremely hostile response from the media, religious leaders and the general public. The museum arranges a press conference, where Christian states he violated protocol and is stepping down as curator in mutual agreement with the board. Several journalists then attack him for stirring up cheap controversy with a tasteless clip, while others attack him for self-censorship because of his resignation.
Feeling guilty about wronging the boy, Christian drives to the apartment block several days later and tries to find him and his family. Christian talks to a neighbour who states that he knew the boy but that his family has moved away.
The Square Timeline
Follow the complete movie timeline of The Square (2017) with every major event in chronological order. Great for understanding complex plots and story progression.
Christian is introduced as curator and interviewed by Anne
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.
The theft in the pedestrian zone
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.
Tracking the phone to a large apartment block
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.
Anonymous letter and 7-Eleven plan
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.
First package arrives at 7-Eleven
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.
A party and a reunion with Anne
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.
Intimacy and the condom dispute
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.
Anne's questions and silence
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.
Second package and the boy's confrontation
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.
Standoff at Christian's home
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.
The Square promotion and the artist's statement
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.
Promotional clip proposes violence; approval without viewing
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.
Backlash and resignation
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.
Guilt drives search for the boy
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.
The Square Characters
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Christian (Claes Bang)
The curator of the X-Royal art museum who projects confidence but hides anxiety about public perception. He navigates moral compromises under pressure, often opting for control and expedience. The crisis exposes the fragility of his authority and his struggle to reconcile art, politics, and personal accountability.
Anne (Elisabeth Moss)
A journalist who interviews Christian and probes his rhetoric, while developing complicated romantic tension. She is both skeptical of museum statements and drawn to deeper meanings behind events. Her perspective frames the narrative's interrogation of truth, consent, and power.
Michael (Christopher Læssø)
Christian's assistant, practical and unflinching. He assists in tracking the phone and executing plan, revealing a quiet loyalty that becomes a liability as events escalate. He becomes entangled in the ethical fallout of the crisis.
Boy with Letter (Elijandro Edouard)
A young boy whose family accuses him of theft, driven by the letter that triggers the central conflict. He confronts Christian and others, embodying the social volatility and threat behind perceived transgressions. His appearance escalates tensions and forces a moral reckoning.
The Square Settings
Learn where and when The Square (2017) takes place. Explore the film’s settings, era, and how they shape the narrative.
Time period
Present-day, late 2010s
The events unfold in contemporary times, in a European city reliant on digital communication. Smartphones, social media, and viral videos drive the plot and influence how characters are judged. The story emphasizes the pressure of maintaining a flawless public persona in the age of instant commentary.
Location
Stockholm, Sweden, 7-Eleven store, apartment block
The action is centered in Stockholm, with the X-Royal art museum occupying the former Royal Palace as a cultural hub. The narrative also moves through urban spaces around the museum and the surrounding residential blocks, showing a modern cityscape under public scrutiny. The setting contrasts high culture with street-level tensions, highlighting how public opinion shapes artistic institutions.
The Square Themes
Discover the main themes in The Square (2017). Analyze the deeper meanings, emotional layers, and social commentary behind the film.
🎭
Public Image
The film interrogates how appearances are manufactured and consumed. A provocative promotional clip thrusts the museum into a thunderstorm of attention, forcing characters to balance spectacle with substance. The square's supposed message clashes with the sensational tactics used to attract audiences. Public perception quickly spirals, revealing the fragility of reputation.
⚖️
Ethics
The advertising decision to depict violence tests ethical boundaries in art promotion. The tension lies between delivering hard-hitting commentary and respecting the integrity of the artwork's stated message. The resulting backlash questions who bears responsibility for what is shown and how it is framed. The narrative suggests that controversy can eclipse the art itself.
💼
Power
Power flows between museum leadership, the board, and the advertising agency, shaping decisions behind closed doors. The crisis exposes how influence, not merit, often governs public narratives. When consequences arise, accountability is diffused among several stakeholders. The film critiques institutions that prioritize image over ethical considerations.
🕯️
Guilt
Christian's actions set off a chain of guilt and self-doubt after the confrontation with the boy. He grapples with the morality of his choices, attempting to make amends through an apologetic video and personal outreach. The story tracks his struggle to reconcile professional ambition with personal responsibility. Redemption remains elusive as the public and private spheres clash.
The Square Spoiler-Free Summary
Discover the spoiler-free summary of The Square (2017). Get a concise overview without any spoilers.
In the sleek, historic halls of Stockholm’s former Royal Palace turned contemporary museum, the world of high‑brow culture collides with the restless pulse of everyday life. The institution, a beacon of artistic ambition, is guided by a curator whose reputation for polished precision has become as much a part of the museum’s identity as the masterpieces it houses. Beneath the marble façades, a subtle tension brews: the careful choreography of exhibitions, press releases, and public expectations is constantly threatened by the unpredictable currents of modern discourse.
Christian navigates this delicate balance with a mix of confidence and quiet anxiety. His dedication to presenting art as a catalyst for reflection is matched by an increasingly visible role in the public eye, where every interview and social media post feels like a performance. The museum’s newest exhibition, centered on a piece called “The Square,” promises a sanctuary of trust and equal responsibility, yet the very notion of translating such an ideal into a shared experience invites scrutiny. As the cultural landscape shifts, the curator finds himself caught between the pristine intentions of his curatorial vision and the messy realities of how those ideas are received.
Across the polished corridors, Anne, a journalist whose curiosity is as sharp as her pen, probes the subtleties of the museum’s language, while Michael, the diligent assistant, keeps the machinery running with calm efficiency. Their interactions hint at underlying personal currents that echo the broader institutional pressures, suggesting that the line between professional duty and private desire can be as fragile as a glass sculpture. The trio’s dynamic adds depth to a setting where art and life constantly mirror each other, each reflecting and refracting the other’s motives.
When a minor misstep triggers a ripple that spreads far beyond the museum’s walls, the carefully constructed equilibrium begins to wobble. A provocative social‑media campaign, intended to spark conversation, erupts into a heated debate about artistic responsibility, the power of intention versus impact, and the complexities of navigating ethics in an age of relentless scrutiny. The film’s tone—sharp, introspective, and tinged with a dry humor—captures the uneasy gap between what is meant and what is felt, inviting viewers to consider how even the most well‑meaning gestures can become points of contention in a world that watches and judges with unflinching focus.
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