Through the eyes of a satirist, the world of contemporary art museums is what one might call a “target-rich environment.” Pretense, hypocrisy, decadence—they’re all there, just waiting to be mocked. And the mercilessly acerbic Swedish filmmaker Ruben Östlund, whose Force Majeure was one of the sharpest critiques of matrimony and masculinity in recent memory, would seem to be just the person to do it. And he does so in smart and entertaining fashion, at least until a drawn-out final act turns The Square from a sharp-tongued takedown into an example of the kind of high-minded narcissism it decries. by Marc Mohan