1
Are you awake?
-Christian?
-What?
Do you need anything?
It's time for the next one.
-What?
-It's time for your next interview.
-Yeah.
-Do you need a few minutes?
-A gIass of water?
-Just give me a coupIe of minutes.
-Okay. See you in GaIIery One.
-Right.
We need a soundcheck.
So, what did you have for breakfast?
I had some bread, cheese
and cornfIakes.
-An egg.
-I'II just...
Some juice, coffee.
Are we aII set?
I need a hand over here...
The Square is a sanctuary
of trust and caring.
Within its boundaries, we aII share
equaI rights and obIigations.
Do you want to save a human Iife?
-Do you want to save a human Iife?
-Not right now.
Do you want to save a human Iife?
Do you want to save a human Iife?
-Do you want to save a human Iife?
-Sorry?
HeIp!
HeIp!
HeIp!!
HeIp!!!
You have to heIp me,
he's going to kiII me!
-Hey, caIm down.
-He's going to kiII me. HeIp! PIease!
-What's the matter?
-HeIp me, he's going to kiII me!
Get a grip on yourseIf!
-He's going to kiII you too!
-CaIm down! Shut up!
-Hey, back me up here!
-But I don't...
-Okay, what's going on?
-Someone's howIing over there.
-I can't see anyone.
-He's going to kiII us!
-WouId you caIm down!
-He's going to kiII us!
-No, no...!
-No, don't...
-What the heII?!
-CooI the fuck down!
-I wasn't going after you guys!
-What the heII?
Have a nice day, guys.
-BIoody idiot!
-What a bIoody idiot!
-BIoody idiot!
-What the heII just happened?
That was insane...
What a fucking idiot! Jesus...
-Are you okay?
-Yeah.
-Is your heart pounding?
-Yeah.
My heart's Iike...
-Good thinking, getting me in on it.
-I just reacted.
Asking for heIp,
that was reaIIy smart.
-I was scared, how about you?
-WeII...
-Right...
-Yeah, aII right.
-Take care!
-Have a nice day.
Excuse me, may I pIease borrow
your phone?
CouId you pIease heIp me?
CouId I pIease borrow your phone?
I just need some heIp.
Have you seen any of his work before?
No.
This is what ''The Square'' Iooks Iike.
Right.
And the exhibition wiII open
on September 15.
That's right.
I've booked the usuaI biIIboards,
and ad space in two
of the major daiIy newspapers.
Okay.
-So, we've done some prep aIready.
-Right. You see...
Listen, this is a very nice project
that raises important issues.
But, from a communications point
of view,
the vaIues are too generaI.
We need to taIk about the difference
-between art and marketing.
-I totaIIy agree.
For every new project, we need
to assess how newsworthy it is.
What makes this exhibition stand out?
Does it invoIve any controversy?
Can we tie it to trends
or current events?
If not, you're stuck
with the biIIboards.
That makes it hard to generate
any internationaI attention.
Then you'II onIy reach
the usuaI ''cuIture vuItures''.
To get journaIists to write about it,
you need some controversy.
OnIy this project doesn't reaIIy have
much of an edge.
As a journaIist, I want
to create my own standpoint.
Like most peopIe, I want to express
an opinion that isn't just consensus.
I'd never post a Facebook status Iike
''DanieI wants peace on Earth.''
-So...
-Hang on.
There's more to this exhibition
than a Facebook update.
Of course.
Its strength Iies in its simpIicity.
That's what we shouId communicate.
DefiniteIy, just Iet me read this.
''The Square is a sanctuary
of trust and caring.
Within its boundaries, we aII share
equaI rights and obIigations.''
No one wouId disagree with that.
So why shouId I, as a journaIist,
care?
WeII... You dropped this.
My point is, that this isn't
about the statement.
What's important is...
what this square activates
in its audience.
-We understand.
-That's what we want to communicate.
May I cIarify something?
The guys aren't disputing
the Iegitimacy of the project.
As Iong as we agree on the content.
And they're not questioning
what you're trying to expIore.
They're simpIy trying to expIain
how the media Iandscape works,
and what it takes to make an impact.
I've been thinking...
How about doing something
Iike the Ice Bucket ChaIIenge?
Yeah, that's a good idea.
OnIy what was it?
It was a viraI success...
WeII,
ordinary peopIe, or ceIebrities,
fiImed themseIves
getting buckets of ice-water poured
aII over them.
And it went viraI.
-It was huge!
-It was aII over the pIace.
Sure, but what was the point
of it aII?
-There was no point.
-You make it sound corny.
It was to promote ALS research.
It generated one biIIion kronor,
so, it was a very
successfuI campaign,
but it wouIdn't be viabIe here.
Your ambition IeveI is high.
Our ambition IeveI is high.
Together, we shouId shoot
for something boId.
-I agree.
-That's what we're trying to expIain.
We need to take a Ieap.
Do something fresh.
And these guys know how.
They were born
into this fast-moving arena.
-It's their home turf.
-Perfect.
We have everything we need,
so, Iet's go back
to the drawing board.
Next week we'II present our ideas
and we'II take it from there.
-Sounds great.
-Good, sounds exciting.
-Can we keep these?
-Sure.
This wiII be great, Christian.
So, how are things?
-The craziest thing just happened.
-What?
-The craziest thing happened to me.
-Today?
Listen, I want you aII to hear this.
It's un-fucking-beIievabIe.
And after Christian says goodbye
to the other guy,
he checks his pockets and his waIIet,
his phone and his cuffIinks are gone.
-You must be kidding!
-I don't understand how they did it.
And now my phone is down there.
-It's reaIIy cIose.
-And we're here.
-So surreaI...
-Hello...
EIena, check this out.
l need a print of the press release.
Come here.
-Can you see what that is?
-No.
Of course, you can't.
WeII, it's my phone.
On my way to work this morning,
I was robbed.
They took my phone,
they took my waIIet,
and they even took my cuffIinks!
I have no idea how they did it.
So, what do you say?
Is that your work phone?
It's the onIy phone I have.
Work or private,
it's the phone I use.
-It's aImost time, isn't it?
-Yes.
-See you out there.
-I'm on my way.
-WiII you...?
-Sure.
We'II taIk about
the next step Iater on.
Yeah.
We wiII be presenting
the Argentinean artist
and socioIogist LoIa Arias.
LoIa's art is inspired
by NicoIas Bourriaud,
and his thoughts
on reIationaI aesthetics.
In short,
reIationaI aesthetics expIores
how we reIate to each other
in a sociaI context.
I'm sorry,
this aII sounds very stiff.
May I start over again?
WouId that be okay?
CooI.
I'II Iose the notes...
I don't need them.
Now off with these...
Because the project
I'd Iike to teII you about...
It means so much to me
that I'd prefer to speak
from the heart.
This is a very speciaI night.
Our museum has received a donation
from Anna-Stina and Gunnar's
50 miIIion kronor.
Now I'd Iike to ask
our chief curator, Christian,
to teII you
about our first acquisition
with this donation, a piece known as
''The Square'',
which you may have seen
on your way in.
An exhibition wiII aIso be tied
to this artwork.
Thank you for joining us,
Christian.
Dear Friends of the Museum,
we wiII be presenting
the Argentinean artist
and socioIogist LoIa Arias,
and her artwork ''The Square''.
LoIa's art is inspired
by NicoIas Bourriaud,
and his thoughts
on reIationaI aesthetics...
What's so funny?
Oh, a phone is ringing?
Is it for me?
Let's wait and see.
Erik? Is it for me?
My mother usuaIIy caIIs
at this hour.
May I take this opportunity
to start over?
It aII feIt a bit too stiff.
Let me Iose the mic.
I'd Iike you to do something for me.
Are you game? Okay.
I'm asking you to imagine
that you are standing
in a pubIic pIace in town.
Such as OdenpIan,
or any other Iarge city pIaza.
Are you there now? Okay.
It's an ordinary day and Iots
of peopIe are in motion.
You Iook down and see
that you are standing inside a square
a cIearIy defined
4 x 4 metre square.
That's what ''The Square'' is
on a physicaI pIane.
It's Iike an empty frame waiting
for its contents.
LoIa Arias compares ''The Square''
to a pedestrian crossing.
A pedestrian crossing
Drivers are to Iook out
for pedestrians.
In a simiIar way,
there is a contract impIied by
''The Square'', to Iook out
for each other.
We heIp each other.
If you enter this space
and ask for heIp,
anyone passing by is obIigated
to heIp you.
''I'm hungry.
Can you heIp me with a meaI?''
''Can you teach me how to swim?''
''My father just died
and I have no one to taIk to.
CouId you spare me
30 minutes of your time?''
Some of you may be thinking
that this sounds naive.
Maybe even utopian.
Thank you.
Thank you.
The exhibit opens in Iate summer,
and you just can't miss it.
And now I hope you're hungry.
We have a treat for you.
Jonas, wiII you present the food?
I'm sure you'II do that better
than me.
-HeIIo!
-HeIIo.
We've prepared a IoveIy buffet
for you.
Corn-fed chicken smothered
in mushrooms,
asparagus marinated
in truffIe oiI...
And ceIeriac roasted
to sweet perfection...
PIease don't rush.
SIow down!
There's a sauce, too.
Pan juices refined with a touch
of baIsamic vinegar, honey and sage.
Enjoy!
Can I ask you something?
The GPS in my car...
-Yeah.
-It's aIways about 50 metres off.
-Is that Iocation reIiabIe?
-It's right there.
-It may be 10 metres off, tops.
-That's too much.
We may not know which fIat,
but we can be certain
of the buiIding.
Listen, I have an idea.
Let's write a threatening Ietter
that we distribute in the buiIding,
putting it in aII the Ietterboxes.
That way, we get to whoever did this.
There couId be 15 fIoors.
-So, what? It's not a probIem.
-Eight fIats on each fIoor...
I'II do it. It's fine.
Isn't a threat a bit over the top?
''To the person who robbed me,
I'II bash your head in
if you don't return my stuff.''
No, no.
Come on, that's way too vioIent.
These peopIe are criminaIs,
that's how they roII.
It doesn't justify bad behaviour
from us.
Don't be so Swedish!
Ditch the poIiticaI correctness crap.
They shouId fucking pay for this.
''We know who you are
and where you Iive, obviousIy,
or you wouIdn't be getting this.''
Good one. Very good.
-And then they...
-Hang on!
''We know who you are
and obviousIy where you Iive,
or this wouId never have reached
you.''
New paragraph.
''Return my waIIet, my phone,
and the cuffIinks
that once beIonged
to my grandfather.''
They were my grandfather's.
-I'II type whiIe you eat.
-Sure.
Okay if I ditch Comic Sans?
Find something Iess chiIdIike.
I didn't pick it.
It's a 90s aII-time favourite.
Now it won't Iook Iike
a kid's birthday party invitation.
-After aII, it is a threat!
-This is insane!
-Go on. Continue.
-Just a second.
''My phone''...
''...and my grandfather's
cuffIinks within 24 hours''...
You missed the ''my''
in front of grandfather.
''My waIIet, my phone,
and grandfather's cuffIinks''...
It's getting v-e-r-y personaI.
''...to the 7-EIeven
by the CentraI Station
or we'II be back...''
ShouId we add a skuII?
No emoticons, that's for texting.
-Right, it's too chiIdish.
-Let's print this shit!
-Let's go!
-Fifty copies.
They're driving Iike bIoody maniacs!
-CouId we Iisten to some music?
-Sure.
How about a goIden oIdie
from back home...
-GasoIine!
-Don't you have anything more upbeat?
This is more upbeat.
CooI, you've got Justice.
Track 5.
-What?
-Justice. Track 5.
That's the one.
-Okay.
-It's awesome. Put it on.
Come on, crank it up Ioud.
I haven't Iistened to Justice
for ages.
The paradox is that
they're caIIed Justice.
And what are we out to get?
-That's not a paradox.
-WeII, maybe not...
But we're out to get justice,
aren't we?
Yeah.
-That's great timing!
-It certainIy is.
Are you ready?
Turn it up!
Isn't this great?
This is what happens
when they steaI your phone.
-We're coming with the cavaIry!
-Coming at them with a hammer.
-A great, big hammer.
-Out for justice...
In a TesIa.
-The TesIa of Justice!
-You're crazy.
-Okay.
-Okay.
Are you going?
One of us has to watch the car.
I'II do it.
-You'II do what?
-I'II watch the car.
I'II watch the car.
This is kind of embarrassing, but...
You are aware that I'm sort
of a semi-pubIic figure?
-Yeah, yeah.
-PeopIe know who I am.
There's a good chance
I'II be recognized.
Not here.
-They wouIdn't know who you are.
-True.
But I wasn't the one who was robbed.
But this was your idea.
Oh, yes, it was.
You suggested writing a Ietter.
Right?
I just wanted to heIp out.
So, I can't see why...
Let's just skip the whoIe thing,
it doesn't matter.
Let's get out of here.
Give me your jacket.
I can't go in there in this suit.
Hand over your jacket, you sissy.
Being a sissy has nothing to do
with it.
You're a sissy!
Hang on. I'm sorry...
Do you remember saying you'd run in
with the Ietters?
-I never said that.
-You did.
''It's dead easy, you just...''
-I did say that.
-You did.
But I never said
I'd do it, personaIIy.
As your boss, I'm curious
to know if I can count on you.
If you promise to do something,
can I count on you?
-Of course you can.
-ReaIIy?
I'm wiIIing to overIook it this time,
but in the future?
You can count on me.
Yeah, yeah.
That's cooI.
Motherfuckers...
Thirteenth floor.
Going down.
HeIIo?!
Shit.
This is totaIIy insane.
Yes, this is my car,
but I'm kind of busy.
It's a cooI car.
CouId you start it up?
-What?
-Start it up. Drive...
CouId you pIease not touch it?
-You might scratch it.
-I'm not doing anything.
I just want you to start her up.
No, I don't feeI Iike it.
Come on, don't be such a drag,
I've never seen one of these.
It's just an ordinary car.
Nothing speciaI, dead boring.
Have a nice evening.
What the heII?
What do you think you're doing?
-What are you doing?
-Whatever I want.
Listen, stop this crap...
-Go! Go!
-What?
AII right! Get in!
I think we hit something.
Yeah, I guess we did...
CouId you puII over...
so I can take a Iook?
PIease, I have three chiIdren
and diabetes. One krona?
Excuse me... PIease, one krona?
-Thank you, ma'am.
-A IittIe money? Thank you.
Thank you, ma'am. PIease, kind ma'am.
HeIIo, heIp me... One krona, pIease.
HeIIo, heIp me. One krona, pIease.
Thank you. HeIp me, pIease.
Do you want to save a human Iife?
Do you want to save a human Iife?
Do you want to save a human Iife?
-HeIIo.
-Hi.
How are you today?
Money...
Sorry, I don't have any cash.
But I couId buy you something to eat.
Chicken ciabatta.
-What?
-Chicken ciabatta.
-Okay, chicken ciabatta.
-Yeah.
What did you say?
-''No onions''?
-Yeah.
-Hi.
-Hi.
I'd Iike a pay-as-you-go SIM card
and one chicken ciabatta.
Has anyone dropped off a parceI
or Ietter addressed to ''Christian''?
Peggy?
-Peggy?
-Yes?
Has anybody dropped off a parceI?
A parceI?
A parceI or a Ietter for Christian?
-No.
-Nothing?
-Sorry.
-Okay.
Have a nice day.
Here's your ciabatta.
Pick the onions out yourseIf.
Cock, goddammit!
Show us your boobs!
We apoIogize,
my husband has Tourette's.
Whore!
-Fuck off!
-That's enough.
Cocksucker! Whore!
This is outrageous.
Shut up! Go home! Fuck off!
We have this one opportunity
to meet this fantastic artist...
Show us your boobs!
Let's continue.
Everyone is weIcome,
irrespective of views...
Go home! Fuck off! Suck cock!
-We can't hear a thing.
-The atmosphere is stressing him out.
Shut up! Go home!
CameI toe!
Try to be a bit toIerant.
The man is suffering
from a neuropsychiatric disorder.
This isn't voIuntary,
so show some toIerance.
What are you up to?
AIgot, come here.
She's off her rocker...
HeIIo, my name is Christian.
I beIieve you caIIed me?
WeII, I'II be damned!
UnbeIievabIe.
Money?
-This is for you.
-Thank you.
-And this...
-Thank you.
Thank you...
Attention, peopIe...
This is a very speciaI pIace.
Right behind here...
I'm serious,
this is the RoyaI PaIace.
The former private quarters
of the king and queen is next door.
And one person here tonight has
the keys...
We thought we'd pop in
and have a Iook.
Oh, crap! We have...
Don't forget to be extremeIy carefuI
with the interiors.
-Josefina!
-Come with us...
Do you know this one?
No.
I am not going to sIeep
with her tonight.
-HeIIo?
-Hello, is this Christian?
Yeah.
This is the Central Station
7-Eleven.
l'm calling to say
that there's a parcel here,
waiting for you.
There must be
a misunderstanding,
I picked it up yesterday.
This came just a little while ago.
l'm holding it as we speak.
lt has ''Christian'' written on it,
so it has to be yours.
-And it was dropped off today?
-Yes, today.
That's strange...
CouId you open it for me?
-You want me to open it?
-If that's possibIe, pIease do.
There's a little note inside.
Is there a message?
-Yes, want me to read it to you?
-Yes, pIease.
''You accused me of being a thief.
Apologize to me
and my family,
or l'll make chaos with you.''
Oh, I'II be darned...
''Chaos'', you said?
Yes. ''Or l'll make C-H-A-O-S
with you.''
Yeah, weII, I'II pick it up
as soon as I can.
There's a phone number here
too, want me to say it?
No, never mind, I'II come
and get the parceI.
-Thank you for caIIing.
-Great, bye.
-WiII you be wearing your hair up?
-That's the pIan.
-Okay
-Is it time?
One, two, three...
Yes!
What's up!
-How are you feeIing about this?
-Great.
We're getting cIoser.
I'm excited to hear
what you've come up with.
-Right. Are you aII set?
-AbsoIuteIy.
-It's great to be back.
-Great to have you back.
This project raises many interesting,
topicaI and humanitarian issues.
But the chaIIenge here,
is to cut through the media cIutter.
Your competition isn't other museums,
it's disasters, terrorism,
and controversiaI moves
by far-right poIiticians.
Keep that at the back
of your mind, stay caIm,
and DanieI wiII teII you
about our idea.
Moving media,
that's what we recommend.
When making fiIms today,
you need to be aware
that peopIe have
a very short attention span.
If the viewer isn't hooked in
two seconds, they'II move on.
In 10 to 15 seconds, tops,
we aIso have to create
something so powerfuI or interesting
that peopIe want to share it
on Facebook,
sociaI media, to the press,
thereby creating a viraI effect.
We conducted market research
on what's shared the most
on sociaI media.
It's generaIIy vuInerabIe groups.
PeopIe post about women,
the disabIed,
the raciaIized, LGBTQ peopIe...
You can make that Iist Ionger,
but there is one group
that affects peopIe
beggars.
So we'd Iike to use a beggar
in this cIip,
but aIso turn it up a notch
by making the beggar a chiId.
In addition to this,
the beggar wiII have fair hair.
Personify the Swedish...
What are you thinking?
We open on the PaIace courtyard.
The Square is visibIe.
So, there's product pIacement
from frame one.
Towards this artwork...
is daybreak and the Square,
is shimmering
with its promise of trust,
caring, moraI courage
and aII that good stuff...
Then we see a IittIe girI
approaching the Square.
She's shivering.
She's aII aIone. She's crying.
She's wrapped in a dirty bIanket
and you sense
that she's homeIess.
These are powerfuI images
so we've hooked the viewer.
The girI keeps on waIking...
-Excuse me?
-Sorry, pIease go on.
PowerfuI images, you wonder where
it's aII heading.
She's crying
as she moves aIong...
She enters the Square...
And there,
it's time for the unexpected.
The totaI opposite of everything
the Square stands for.
The surprise effect wiII generate
the attention we need,
creating the perfect pIatform
to express your message.
AII those vaIues and issues
your exhibition
wouId Iike to raise.
Exciting...
And not at aII what I expected.
-That's good.
-A noveI approach.
That's what we wanted
to achieve.
So, what happens?
ExactIy what happens?
WeII, we haven't quite figured
out exactIy what that wiII be,
but in one way or another,
the girI wiII get hurt
inside the Square.
What do you mean by ''get hurt''?
WeII, it's the Iast thing
viewers expect,
and opposite of...
-HeIIo.
-Great! Come on in.
MichaeI, can I bother you for a sec?
Christian, it wouId
be great if you couId join us.
It wouId be great
if you couId join us.
-Let's take it from the top.
-He needs to be on board with this.
This Iooks fine.
It's the right approach.
Go ahead, run with it.
-I couId run through it...
-I've got to go.
-Bye.
-But...
Okay, we'II do a recap Iater.
Let's move on.
ExpIain, pIease.
What's happening here is exactIy
what we want to achieve.
Questions Iike these refIect
how the generaI pubIic
and the media wiII react.
-That's what I'm afraid of.
-Don't be...
Excuse me...
What's your name?
HeIIo...
-Yes, you.
-Nicki.
-Do you have a drivers' Iicense?
-Yes.
Come aIong.
-Right now?
-Yes. PIease.
We have, of course,
prepared for crisis management.
That's part of our risk anaIysis,
to prepare for any externaI concerns.
The same concerns I sense here.
We can handIe them.
Don't make me angry!
Don't act stupid!
I don't know
what you're taIking about.
-It says ''Christian'' here. And there.
-Yes, but...
-Oh. Are you Christian?
-No, he's my boss.
-Your boss? Where's your stupid boss?
-Listen...
-Where's your stupid boss?
-Lower your voice.
I've got nothing to do
with aII this...
-I want his phone number.
-You can't have it.
Why not? Look what he did to me,
I need to taIk to him.
I'm reaIIy sorry,
we made a mistake.
What? Why did you write this?
My parents think I'm a thief.
They won't Iet me pIay baII,
or anything! AII thanks to you!
-Hey, Iisten...
-You put this in my Ietterbox.
It wasn't me, it was my boss.
No, you did this!
You're Iying. You're Christian.
-He's Iying to me!
-CaIm down.
Look what he put in our Ietterbox!
Now my parents think
I'm a thief.
-My boss was robbed...
-AII I get to do is stay home and rot
They took his phone
and his waIIet...
So, he put a note
in aII the Ietterboxes.
-What are you Iaughing at?
-WeII, it's...
-You bastard! Shut up.
-ChiII...
-You can't fight in here.
-Look at what he wrote.
Don't I have the right
to be angry?
I don't know who's right here.
He's pretending
to have a boss caIIed Christian.
And he's pretending that
he can't understand my Swedish...
TransIate, so the idiot understands.
Stop caIIing me an idiot.
-Give me his number!
-Shh! CaIm down!
-Hey, where are you going?
-Hey! What are you doing?
What's wrong with you?
What do you expect me to do?
I didn't do this!
What the heII are you doing?
I'm sorry, but...
-This is not a good time.
-It's an emergency.
-What?
-Excuse me. Sorry.
-AII right...
One of the cIeaners managed
to sweep up
parts of the Gijoni exhibit.
-The piIes don't Iook the same.
-Are you puIIing my Ieg?
Are the piIes gone?
No, but they don't Iook the same.
And we found a bag fuII of graveI.
So, I'II caII the insurance company.
No, no! No, don't do that.
Where's the graveI?
The graveI that was swept away?
In a bag? Great.
And we have photos, don't we?
Um-hm.
Meet me downstairs in 5 minutes,
with the photos and the graveI,
and we'II fix it.
Without teIIing anyone at aII.
She doesn't understand a thing,
she's American.
Are you serious?
We're going to fix the piIes?
Sure, it wiII be fine. Hm?
We'II sort it out.
''You accused me of being a thief.
You wiII apoIogize to me
and my famiIy,
or I wiII make chaos with you.''
-Daddy!
-Why didn't you open the door?
And why didn't you pick us up!
It wasn't my turn to do it.
-We had to caII Mummy!
-She didn't teII me...
-Go inside, you idiot!
-Stop it!
No... What's going on here?
What's wrong?
Don't fight Iike that...
What's wrong with you?
-You twerp!
-I hate you!
-Let go!
-Stop it!
Hey, hey...!
What are you doing?
No, go to your room.
What's the matter, Lise? No!
LiIIy? What have I said
about sIamming doors?
What have I said about that?
What have I said
about sIamming doors?
We've taIked about this.
What's wrong with you two?
Lise? You're the eIdest...
What's aII this?
HeIIo?
Why are you fighting Iike this?
What's the matter?
-I'm sorry, Daddy.
-No, it was my fauIt.
I raised my voice. I shouIdn't have
shouted Iike that.
I'm sorry. Forgive me.
Do you want to wait here
whiIe I go get Lise? AII right?
WeIcome! I'm deIighted
to see such a crowd.
Here are sets for our new exhibition,
one that is very promising indeed.
To enter, you have to decide
whether you trust other peopIe,
or that you don't, you mistrust them.
This is done by pressing
the appropriate button.
You're weIcome to do that now.
Excited?
Let's see what happens next.
-ShouId we?
-What do you think?
-That's what it says.
-So, shouIdn't we?
-Here?
-Mm-hm.
Is that okay?
Does it feeI strange?
Yes.
It'II be interesting to see
if they're stiII there
when we get back.
This reminds me of something
your grandpa toId me.
He was a boy, about 6 years oId.
And he was about to go out
and pIay...
His parents made him a tag and wrote
his name and address on it.
They hung it around his neck
and sent him off to pIay
aII by himseIf
in the middIe of Copenhagen.
Imagine if I had done that
to you when you were six.
That never wouId have happened.
Attitudes change...
Back then,
peopIe trusted other grownups,
to heIp their chiIdren if they had
probIems or had Iost their way.
But nowadays, you tend to regard
other aduIts as potentiaI threats.
-Do you understand?
-What's that got to do with this?
Everything. Read this again
and you'II understand.
Read it again. Out Ioud.
''The Square is a sanctuary
of trust and caring.
Within it, we aII share
equaI rights and obIigations.''
I don't have any cash.
Sorry, I don't have any cash.
I don't have any cash.
HeIIo?
Hello, l'm Pauline
from YouTube Sweden.
-Oh, heIIo...
-Congratulations to 300k.
-Excuse me?
-Congratulations to 300,000 clicks.
-300,000 views?
- That's right.
Your video has seen a lot of traffic
in just a few hours.
ReaIIy? WeII, that's nice.
I presume you're referring
to our artist taIk.
No, it's ''Blonde Child Beggar
Gets Blown lnto Pieces''.
The reason l'm calling is to ask
if you are interested in any ads,
thereby sharing partner revenue.
-Hello?
-I need to get my head around this...
We have a cIip-on YouTube
that features kids being bIown up?
l haven't seen
the clip myself...
l don't work with content.
No, of course not.
Listen, can I caII you back
in ten minutes
when I know more about this?
-Sure.
-I'II do that. Great. Bye.
This so can't be happening.
UnbeIievabIe...
Excuse me, couId you heIp me?
No?
-CouId you give me a hand?
-Sorry...
-WeII,
-He's here.
at Ieast we got peopIe taIking.
...have produced this
video with taxpayers' money...
HeIIo...
Hi, EIna.
And the other thing they do,
that they are clueless about,
is to attack one of Sweden's
most vulnerable groups,
the beggars.
People who sit day
and night outside shops.
A video like this is pissing
them straight in the face.
What's really sick is that
my 6-year-old daughter...
-CouId you turn that off?
-...sees body parts flying...
Who's that idiot?
EIna, this is an opportunity
to take a stand.
We, as a museum, mustn't
be afraid to push boundaries.
To transcend aII kinds of taboos.
Nothing shouId stand in the way
of freedom of expression.
That's my conviction.
It's something to stand up for.
Without a doubt.
BabyBjrn...
Do you think they'II want
to donate money to this museum?
You do reaIize
that I didn't have anything
to do with this video?
-I didn't make it...
-That's totaIIy irreIevant.
ReaIIy.
I have a board meeting to attend.
And I want to make sure
that you wiII compIy
with any decisions we make.
WeII, that depends
on what we're taIking about.
That wouId be decisions reIated
to the consequences of aII this.
-ObviousIy.
-Okay.
Good.
GirIs, if you want to draw,
there are some crayons
over there.
-No...
-You don't want to? Why not?
One more thing.
We need new press photos of you.
-What for?
-On the ones we've, you're smiIing.
WeIcome.
Christian?
Keep in mind that they don't know
about the cIip.
-What's happening?
-This wiII be exciting!
-This is rather fierce.
-Yes.
Let's have a round of
appIause... for OIeg Rogozjin.
Amazing!
Great! Thank you very much.
OIeg, I just said that...
I'm just saying that...
I'm just saying...
HeIp...
Hey...
That hurts a bit...
HeIIo? HeIp...
Fredrik, couId you heIp me?
Okay... HeIp!
Stop it! Hey! Stop it!
KiII him, for God's sake!
Are you Christian?
Are you Christian?
Daddy?
Why don't you go upstairs?
This won't take Iong.
You can wait outside.
-What are you doing here?
-You put this in our Ietterbox.
-My parents think I'm a thief.
-You shouIdn't be here.
Yes, I shouId.
And you shouId apoIogize.
Listen to me, you shouIdn't be here.
This is just weird.
You have to Ieave.
-Stay here. Hey!
-No.
Hey...
-Hey, stop!
-Don't shout, peopIe are sIeeping.
If you apoIogize, I'II go.
Listen carefuIIy to me...
I'm reaIIy sorry
if my Ietter caused you troubIe.
This has nothing to do with you.
PIease, Iet me finish...
It was nothing personaI.
AII I wanted was to get
my stuff back.
-What are you doing?
-Good night. Go now.
Stop!
Hey! Stop!
What are you doing?
Beat it!
-Hey!
-Stop this.
No. ApoIogize to me and my famiIy!
Stop shouting!
Stop this and get out!
I wiII smack you one,
beIieve me.
I'm counting to three.
One, two...
Get out.
Get out!
Let's go inside.
What are you doing?
Don't do that!
Stop doing that!
Stop it!
You caIIed me a thief,
so I'm making chaos with you!
Stop this...
No! Don't you...
-They're my neighbours! Get out!
-HeIp me!
-HeIIo? HeIIo?
-Beat it!
Why didn't you Iisten to me?
You shouId have Iistened.
Right? Now go home.
AII right, go and brush your teeth.
Go on, brush your teeth...
Shoes off first.
HeIp!
HeIp!
-HeIIo?
-HeIp me...
Is there anyone here?
HeIIo?
HeIp!
Here we go... Yes.
HeIp me!
HeIp!
HeIp me...
HeIp!
HeIp me...
HeIp...
The person you're trying to reach
is not available...
Uh, hi...
You can probabIy see who this is.
We just met on my stairweII.
I tried to caII,
but I couIdn't get through.
So now I'm making
this video instead.
Because you're absoIuteIy right.
I apoIogize for the rotten thing
I did.
I accused you
of being a thief.
PIease show this
to your parents,
so they'II know you are
not a thief.
The note said you stoIe
my phone and my waIIet,
but that wasn't true.
I want to emphasize
that this is simpIy not true.
So, I'd Iike to apoIogize.
It was a bad thing to do.
It was so seIfish of me.
CareIess and prejudiced
and I'm...
Looking back, I shouId have gone
into your buiIding,
knocked on the doors
and asked a simpIe question.
But that never occurred to me,
because...
WeII, honestIy, I was too afraid.
Afraid of the peopIe who Iive...
Afraid of the peopIe I picture
Iiving in a buiIding Iike yours.
Those negative expectations
say something about me.
They say something
about our society,
because I'm sure I'm not
the onIy one who's prejudiced...
You have preconceptions
about us too,
probabIy because
our Iives are so different.
So suddenIy,
it comes down to poIitics
and the distribution of assets.
Because these probIems can't be
soIved by individuaIs aIone.
Society needs to Iend a hand too.
It's not enough
that I admit I was wrong
and apoIogize to you in a video.
There are bigger,
structuraI probIems
invoIved that society needs
to deaI with.
I actuaIIy know one of the 291 peopIe
who own more than 50%
of the worId's weaIth.
A guy Iike that couId fix
aII this in an instant.
WeIcome...
We have...
We have caIIed
this press conference
in response to a certain video
circuIating on the Internet.
We beIieve that it's the best way
to deaI with your questions.
This session wiII be Ied by
our chief curator,
Christian JueI NieIsen.
HeIIo.
WeII, as previousIy stated...
We are here to discuss
the video cIip
pubIished on the museum website
and on our YouTube channeI.
We have received a massive
amount of messages
and indignant responses
with regard to this video,
and this pains us.
-CouId you pIease speak up?
-Yes, certainIy.
We're very sorry
to have caused this commotion,
particuIarIy since this cIip
was pubIished by mistake.
This museum has cIearIy defined
procedures.
It's my roIe to supervise
aII our communications
and marketing efforts.
In this particuIar case, I did
not fuIIy compIy with protocoI,
and this video was pubIished
without my knowIedge.
I have acted
irresponsibIy in this matter,
and have therefore,
in accord with our board,
decided to step down.
-Are you saying you're resigning?
-Yes.
-When?
-As soon as possibIe.
-Were you sacked?
-No, it was a unanimous decision.
We feIt that it wouId be
the best soIution.
Define ''we''.
That wouId be myseIf,
our management and our board.
Where is your soIidarity
with the voiceIess
and the vuInerabIe members
of society?
Where is your soIidarity
with the voiceIess
and the vuInerabIe members
of society?
You shouId be ashamed
of yourseIf!
That's totaI buIIshit...
You started out by saying
that you and the museum board
agreed that you shouId resign.
Yes, that was our decision.
This is not the image
we wish to project.
So you've reached the Iimit
for how much freedom of speech
you can handIe?
You've hit the ceiIing
in terms of communication?
Do you personaIIy beIieve
that you crossed a Iine?
I beIieve that freedom of speech
comes with certain responsibiIities.
You must consider
what you express.
But is it up to you
to Iimit free speech?
Isn't such seIf-censorship
cause for concern?
-You're in a powerfuI position.
-The decision was not aII mine.
But you took part in this decision.
You have cIearIy expressed
that this cIip
was so distastefuI that you feeI
obIigated to resign.
I made a mistake, the cIip was
pubIished without my approvaI.
So that's where you draw the Iine?
A fictionaI girI gets...
No, it isn't. Like I said,
this has nothing to do
with my own opinions.
You're putting a cap
on free speech!
These are not
my personaI opinions.
We're taIking about the museum
and my professionaI roIe.
What is it you don't
understand about that?
This is a highIy aIarming future
you're creating for our society.
Quite frankIy, it sucks!
Christian... Christian?
I have questions
about the content of the cIip.
How did the choice faII on
a bIonde beggar girI expIoding?
This just came
from the PR agency.
If you wanted to draw paraIIeIs
to the poverty in the EU,
why not have a dark-haired chiId?
How do you respond to that?
As I was trying to expIain,
I have not deaIt responsibIy...
-Answer the question!
-I just received a message...
...that might shed
some Iight on this.
I hope so.
It's a statement from
our marketing department
and the agency we used.
''We want to emphasize
that the cIip
pubIished on the museum's
website and YouTube channeI
in no way expresses
the standpoint of the museum.''
''The cIip was produced
in sheer specuIation to generate
attention for
an upcoming exhibition.''
-So, it's aII specuIation?
-What exhibition is that?
WiII you be bIowing up kids?
What kind of exhibition is it?
To best expIain
the theme of the exhibition,
I'II quote the artist's
manifesto, which goes something
''The Square is a sanctuary
of trust and caring.
Within it, we aII share
equaI rights and obIigations.''
-CouId you repeat that?
-Quiet, Iet him taIk.
''The Square is a sanctuary
of trust and caring.
Within it, we aII share
equaI rights and obIigations.''
-What's the name of the artist?
-LoIa Arias.
-Repeat her Iast name, pIease.
-A-R-I-A-S.
AII the press materiaI
is on our website.
-IncIuding photos of LoIa Arias?
-Yes, in high-resoIution.
Both of the artist
and of some of her work.
There is an extensive press kit
to downIoad there.
Museum specuIates in disgusting
detaiIs to grab attention
stand united against PR campaign
Here is the exhibition
they wanted to Iaunch
The coaches are
Therese Johansson,
Yasemin Beyasit,
and Josephine Kalmlund.
And here come the ''Bobcats''!
Great! Let's go for it!
Go, girIs!
Hey, where are we going?
I'II expIain in a minute.
Remember that boy who was waiting
for us the other night?
He Iives over there.
I need to taIk to him.
It wiII onIy take 10 minutes.
20, tops.
You don't mind
waiting in the car, do you?
Is that okay?
Daddy?
Daddy!
What is it?
CouId we come aIong too?
-WeII, if she wants to.
-Do you?
Sure, Iet's go.
-Are you okay?
-Yeah.
HeIIo... Sorry to bother you.
My name is Christian.
This may sound a bit crazy,
but I was hoping...
Did you happen to get a Ietter
accusing you of being a thief?
CIaiming that you stoIe
a phone and a waIIet?
-Pardon?
-A Ietter.
Accusing you of being a thief.
-What did you say I got?
-A Ietter with a weird message.
-In my Ietterbox?
-Yes.
I put them through
aII the sIots in this buiIding.
I have no idea
what you're taIking about.
CouId anyone eIse
in your househoId have found it?
My ex-wife comes around to cIean.
She throws away any maiI
that doesn't have my name on it.
I have one more question...
Are there any kids Iiving
in this buiIding?
-Sure, why do you ask?
-I'm Iooking for a boy.
He's, Iike, ten or tweIve...
Pitch-bIack hair.
About this taII? ReaIIy dark hair...
-10, 13, years oId...
-That's right.
Does he Iive here?
He used to.
I haven't seen him around.
-The famiIy used to Iive here?
-I think they moved.
I see...
-Do you know where they moved to?
-No, not a cIue.
I'm afraid I can't heIp you.
-Okay.
-Bye.