It’s quite frankly impossible to deny that Ruben Östlund’s directorial output – sparse as it may be in quantity – has been consistently delivering both in terms of visceral enjoyment and intellectual engagement engendered by the subject matter the filmmaker has dabbled in. In fact, from Involuntary to The Square, Östlund successfully crafted a string of politically charged satires awash with allegories and teeming with extratextual frustrations consciously imposed upon unsuspecting viewers in order to unsettle and force them to think critically about aspects of their existence they’d rather left alone in the dark.