(upbeat music plays)
(crowd chattering)
(laughter)
(cheering)
(music grows louder)
(music stops)
(alarm ringing)
(footsteps)
(knocking)
(woman speaks Swedish) Are you awake?
- (knocking) - Woman: Um, Christian?
Uh, what?
(in Swedish) Do you need anything?
It's time for the next one.
- What? - It's time for your next interview.
- Uh, yeah. - Do you need a few minutes?
- A glass of water? - Just give me a couple of minutes.
- See you in Gallery One. - Right.
(woman speaks Swedish) We need a soundcheck.
So, what did you have for breakfast?
(Swedish) I had some bread, cheese and cornflakes.
- Uh, an egg. - I'll just...
Some juice, coffee. Are we all set?
(in English) Hello. Christian.
Hello again.
So, is everything all right?
- Sure. - Good.
- And you? - Very well.
- Wonderful. - Yeah.
- Um, grab a chair. - Yes.
- And let's get... - Get started.
Woman: His checklist will be right there?
(cell phone rings)
Woman: Yeah.
- Man: Sorry. - Woman: All right.
- Interesting. (chuckles) - Yeah.
- Did you get a level? - Woman 2: Yeah, we're good.
- And you're comfortable? - Mm-hm.
Well, that's-- Oh, my God.
(mutters) That's okay. (grunts)
No, it's just-- No, it's--
Sorry, just a second.
(muttering)
Okay.
Are you rolling?
Woman: Should I start over? Yeah.
Yeah, if you can start over.
Thanks.
- Woman: You're ready? - Yeah.
- Woman: We're rolling.
You all set?
- Christian: You ready? - Yes.
Good.
Uh, my first, um...
question's a broad one.
What are the biggest challenges in running a museum like this?
I hate to say it, but it's probably money.
Um, raising sufficient funds.
We're a museum of modern and contemporary art.
So we need to present art that is absolutely the art of today,
the future, art that is absolutely cutting edge,
and that's expensive.
And the competition is fierce,
because you've got buyers and collectors
from all over the world with so much money
you can't believe it. They spend more in an afternoon
- than we spend in a year. - Mm.
Whereas, if we buy that piece of art
we'll be able to present it here.
To a large audience, to all of Stockholm and Sweden
and perhaps even visitors.
So I think it's actually an obligation for us
to, um... to get into that competition
and present... art that is absolutely...
Woman: I agree. I agree absolutely.
- It's key. Yeah. - Mm-hm.
Well... 'cause I wanted to ask you
about something that I read on your website.
- All right. - That I didn't understand.
And I was hoping that you could help me to understand.
- Mm-hm. - Yeah.
Do you mind if I read this to you?
- Please do. - Yeah.
Um, May 30-31.
"Exhibition/Non-exhibition.
An evening conversation that explores the dynamics
of the 'exhibitable' and the construction of public-ness
in the spirit of Robert Smithson's Site/Non-site.
From non-site to site,
from non-exhibition to exhibition,
what is the topos of exhibition/ non-exhibition
in the crowded moments of mega exhibition?"
Can I?
- Do you want to read it? - Yeah.
- Um... - Yeah, I just don't--
I'm sorry, I'm clearly not as scholarly as you are.
I was just hoping that you could...
Well, this is, um...
This was a couple of evenings in May
where we discussed, um...
When... when...
I mean, if you place an object in a museum
does that make this object a piece of art?
- Hm. - For instance, if we took your bag,
and placed it here...
would that make it art?
Ah.
Okay.
Does that answer your question?
Yes, it does. I think. Yeah.
Well, that is all we have.
(mechanical whirring)
(loud clank)
(men chattering)
(speaks in Swedish) I need a hand over here...
The Square is a sanctuary of trust and caring.
Within its boundaries, we all share equal rights and obligations.
(people chattering)
Woman: Do you want to save a human life?
Do you want to save a human life?
Not right now.
Do you want to save a human life?
- Do you want to save a human life? - Sorry?
(asks again)
(woman screams) Help!
Help!
Help!!
Help!!!
You have to help me, he's going to kill me!
- Man: Hey, calm down. - He's going to kill me. Help! Please!
- Man: What's the matter? - Help me, he's going to kill me!
- Man: Get a grip on yourself! - (man screams in distance)
- He's going to kill you too! - Calm down! Shut up!
- (continues shouting) - (man screams in distance)
- Hey, back me up here! - But I don't...
- Okay, what's going on? - Someone's howling over there.
- I can't see anyone. - He's going to kill us!
- Would you calm down! - He's going to kill us!
- No, no...! - No, don't...
- What the hell?! - Cool the fuck down!
- I wasn't going after you guys! - What the hell?
Have a nice day, guys.
- Bloody idiot! - What a bloody idiot!
- Bloody idiot! - What the hell just happened?
That was insane...
What a fucking idiot! Jesus...
- Are you okay? - Yeah.
- Is your heart pounding? - Yeah.
My heart's like...
Good thinking, getting me in on it.
I just reacted.
Asking for help, that was really smart.
- I was scared, how about you? - Well...
(exhales) Shit.
- Right... - Yeah, all right.
- Take care! - Have a nice day.
Excuse me, may I please borrow your phone?
Could you please help me? Could I please borrow your phone?
I just need some help.
(grunts)
(panting)
Woman: Excuse me. Um...
You're on your way to the art exhibition now?
Yeah, castle is over there.
Woman 2: Oh.
(chatter)
(man's voice gibbering)
Man: Have you seen any of his work before?
Man 2: No.
Woman (in Swedish): This is what "The Square" looks like.
Right.
And the exhibition will open on September 15.
Woman 1: That's right. I've booked the usual billboards,
and ad space in two of the major daily newspapers.
- Okay. - (baby crying)
So we've done some prep already.
Right. You see...
(baby cries)
Listen, this is a very nice project
that raises important issues.
But, from a communications point of view,
the values are too general.
We need to talk about the difference
between art and marketing.
I totally agree.
For every new project, we need to assess how newsworthy it is.
(baby fusses)
What makes this exhibition stand out?
Does it involve any controversy?
Can we tie it to trends or current events?
If not, you're stuck with the billboards.
That makes it hard to generate any international attention.
Then you'll only reach the usual "culture vultures".
To get journalists to write about it, you need some controversy.
Only this project doesn't really have much of an edge.
As a journalist, I want to create my own standpoint.
(baby cries)
Like most people, I want to express an opinion
that isn't just consensus.
I'd never post a Facebook status like
"Daniel wants peace on Earth."
- So... - Christian: Hang on.
There's more to this exhibition than a Facebook update.
Of course.
Its strength lies in its simplicity.
That's what we should communicate.
Reporter 2: Definitely, just let me read this.
"The Square is a sanctuary of trust and caring.
Within its boundaries, we all share equal rights and obligations."
No one would disagree with that.
So why should I, as a journalist, care?
Well... 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 clarify something?
The guys aren't disputing the legitimacy of the project.
As long as we agree on the content.
And they're not questioning what you're trying to explore.
They're simply trying to explain how the media landscape works,
and what it takes to make an impact.
Woman: I've been thinking...
How about doing something like the Ice Bucket Challenge?
Woman 2: Yeah, that's a good idea. Only what was it?
It was a viral success...
Well, ordinary people, or celebrities, filmed themselves
getting buckets of ice-water poured all over them.
Woman 1: And it went viral.
- It was huge! - Woman 3: It was all over the place.
Woman 2: Sure, but what was the point of it all?
- There was no point. - Woman 1: You make it sound corny.
It was to promote ALS research. It generated one billion kronor,
so it was a very successful campaign, but it wouldn't be viable here.
Your ambition level is high. Our ambition level is high.
Together, we should shoot for something bold.
- I agree. - That's what we're trying to explain.
We need to take a leap.
Do something fresh. And these guys know how.
They were born into this fast-moving arena.
- It's their home turf. - Christian: Perfect.
Man: We have everything we need,
so let's go back to the drawing board.
Next week we'll present our ideas
and we'll take it from there.
- Sounds great. - Woman 1: Good, sounds exciting.
- Can we keep these? - Woman 1: Sure.
This will be great, Christian. So, how are things?
- The craziest thing just happened. - What?
- The craziest thing happened to me. - Today?
Listen, I want you all to hear this.
(laughs) It's un-fucking-believable.
And after Christian says goodbye to the other guy,
he checks his pockets and his wallet,
his phone and his cufflinks are gone.
- You must be kidding! - I don't understand how they did it.
(all laugh, chatter)
And now my phone is down there.
- It's really close. - And we're here.
- So surreal... - (knocking)
Woman: Hello...
Elna, check this out.
I need a print of the press release.
Come here.
- Can you see what that is? - No.
Of course you can't. Well, it's my phone.
On my way to work this morning, I was robbed.
They took my phone, they took my wallet,
and they even took my cufflinks!
I have no idea how they did it.
So what do you say?
Is that your work phone?
It's the only phone I have.
Work or private, it's the phone I use.
- It's almost time, isn't it? - Yes.
- See you out there. - I'm on my way.
- Will you...? - Sure.
We'll talk about the next step later on.
Yeah.
We will be presenting the Argentinean artist and sociologist Lola Arias.
Lola's art is inspired by Nicolas Bourriaud,
and his thoughts on relational aesthetics.
In short, relational aesthetics explores
how we relate to each other in a social context.
I'm sorry, this all sounds very stiff.
May I start over again?
Would that be okay? Cool.
I'll lose the notes... I don't need them.
Now off with these...
Because the project I'd like to tell you about...
It means so much to me that I'd prefer to speak from the heart.
This is a very special night.
Our museum has received a donation
from Anna-Stina and Gunnar's foundation: 50 million kronor.
(applause)
Now I'd like to ask our chief curator, Christian,
to tell 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 will also be tied to this artwork.
Thank you for joining us, Christian.
(applause)
Um, Dear Friends of the Museum,
we will be presenting the Argentinean artist and sociologist Lola Arias,
and her artwork "The Square".
(cell phone ringing)
Lola's art is inspired by Nicolas Bourriaud,
and his thoughts on relational aesthetics...
- (laughter) - 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 usually calls at this hour.
(laughter)
Um...
May I take this opportunity to start over?
It all felt a bit too stiff. Let me lose the mic.
I'd like you to do something for me.
Are you game? Okay.
I'm asking you to imagine that you are standing
in a public place in town.
Such as Odenplan,
or any other large city plaza.
Are you there now? Okay.
It's an ordinary day and lots of people are in motion.
You look down and see that you are standing inside a square,
a clearly defined 4 x 4 meter square.
That's what "The Square" is on a physical plane.
It's like an empty frame waiting for its contents.
Lola Arias compares "The Square" to a pedestrian crossing.
A pedestrian crossing involves a clear-cut contract:
Drivers are to look out for pedestrians.
In a similar way, there is a contract
implied by "The Square", to look out for each other.
We help each other. If you enter this space and ask for help,
anyone passing by is obligated to help you.
"I'm hungry.
Can you help me with a meal?"
"Can you teach me how to swim?"
"My father just died and I have no one to talk to.
Could you spare me 30 minutes of your time?"
Some of you may be thinking that this sounds naive.
Maybe even utopian.
Christian: Thank you.
Thank you.
The exhibit opens in late summer,
and you just can't miss it.
And now I hope you're hungry. We have a treat for you.
Jonas, will you present the food?
I'm sure you'll do that better than me.
- Hello! - Audience: Hello.
We've prepared a lovely buffet for you.
Corn-fed chicken smothered in mushrooms,
asparagus marinated in truffle oil...
And celeriac roasted to sweet perfection...
Please don't rush.
(shouts) Slow down!
There's a sauce, too.
Pan juices refined with a touch of balsamic vinegar, honey and sage.
Enjoy!
Can I ask you something? The GPS in my car...
Yeah.
It's always about 50 meters off.
- Is that location reliable? - It's right there.
- It may be 10 meters off, tops. - That's too much.
We may not know which flat,
but we can be certain of the building.
Listen, I have an idea.
Let's write a threatening letter
that we distribute in the building,
putting it in all the letterboxes.
That way, we get to whoever did this.
There could be 15 floors.
- So what? It's not a problem. - 8 flats on each floor...
I'll do it. It's fine.
Isn't a threat a bit over the top?
"To the person who robbed me,
I'll bash your head in if you don't return my stuff."
No, no. Come on, that's way too violent.
These people are criminals, that's how they roll.
It doesn't justify bad behavior from us.
Don't be so Swedish!
Ditch the political correctness crap.
They should fucking pay for this.
"We know who you are and where you live, obviously,
or you wouldn't be getting this."
Good one. (laughs) Very good.
- And then they... - Hang on!
"We know who you are and obviously where you live,
or this would never have reached you."
New paragraph.
Um...
"Return my wallet, my phone, and the cufflinks
that once belonged to my grandfather."
They were my grandfather's.
- I'll type while you eat. - Sure.
Okay if I ditch Comic Sans? Find something less childlike.
(laughs) I didn't pick it. It's a 90s all-time favorite.
Now it won't look like a kid's birthday party invitation.
- After all, it is a threat! - This is insane!
(both laughing)
- Go on. Continue. - Just a second.
"My phone"...
"...and my grandfather's cufflinks within 24 hours"...
You missed the "my" in front of grandfather.
(laughs)
"My wallet, my phone, and grandfather's cufflinks"...
It's getting v-e-r-y personal.
"...to the 7-Eleven by the Central Station
or we'll be back..."
Should we add a skull?
No emoticons, that's for texting.
- Right, it's too childish. - Let's print this shit!
- Let's go! - 50 copies.
(engines revving)
(chattering in Swedish)
They're driving like bloody maniacs!
- Man: Could we listen to some music? - Sure.
How about a golden oldie from back home...
(pop music plays)
- Gasoline! - Don't you have anything more upbeat?
(music stops)
(upbeat pop music plays)
This is more upbeat.
Cool, you've got Justice. Track 5.
- What? - Justice. Track 5.
That's the one. It's awesome. Put it on.
- (music stops) - Okay.
(heavier music plays)
Man: Yes.
Come on, crank it up loud.
I haven't listened to Justice for ages.
The paradox is that they're called Justice.
And what are we out to get?
- That's not a paradox. - Well, maybe not...
But we're out to get justice, aren't we?
Christian: Yeah.
- That's great timing! - It certainly is.
Are you ready? Turn it up!
(beat begins playing)
- Isn't this great? - (laughs)
This is what happens when they steal your phone.
- We're coming with the cavalry! - Coming at them with a hammer.
- A great, big hammer. - Out for justice...
In a Tesla.
- The Tesla of Justice! - You're crazy.
(man laughs)
- Okay. - Okay.
Are you going? One of us has to watch the car.
Man: I'll do it.
- You'll do what? - I'll watch the car.
I'll watch the car.
This is kind of embarrassing, but...
You are aware that I'm sort of a semi-public figure?
- Yeah, yeah. - People know who I am.
There's a good chance I'll be recognized.
Not here.
- They wouldn'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 letter. Right?
I just wanted to help out. So I can't see why...
Let's just skip the whole 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...
(door closes)
(knocking)
Do you remember saying you'd run in with the letters?
- I never said that. - You did.
Let me refresh your memory: "It's dead easy, you just..."
(whistles)
- I did say that. - You did.
But I never said I'd do it, personally.
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. - Really?
I'm willing to overlook it this time, but in the future?
You can count on me. Yeah, yeah.
That's cool.
(elevator beeps)
(mutters) Motherfuckers...
Elevator: Thirteenth floor.
Going down.
(baby crying)
(door closes)
(engine revving outside)
(knocks) Hello?!
(dog barks)
Shit.
(dog continues barking)
This is totally insane.
Come on!
Oh, fuck!
Yes, this is my car, but I'm kind of busy.
Man: It's a cool car. Could you start it up?
- What? - Start it up. Drive...
(banging)
Could you please not touch it?
- You might scratch it. - Man: I'm not doing anything.
I just want you to start her up.
No, I don't feel like it.
Come on, don't be such a drag, I've never seen one of these.
It's just an ordinary car. Nothing special, dead boring.
Have a nice evening.
- (thud) - What the hell?
What do you think you're doing?
- What are you doing? - Man: Whatever I want.
Listen, stop this crap...
- (shouts) Go! Go! - What?
- All right! Get in! - (music blares)
(tires squeal)
- (thud) - (music stops)
(man shouts in distance)
(thudding)
I think we hit something.
Christian: Yeah, I guess we did...
Could you pull over... so I can take a look?
Please, I have three children and diabetes. One krona?
Excuse me... Please, one krona?
- Thank you, ma'am. - A little money? Thank you.
Thank you, ma'am. Please, kind ma'am.
Hello, help me... One krona, please.
Hello, help me. One krona, please.
Thank you. Help me, please.
Woman: Do you want to save a human life?
Do you want to save a human life?
- Hello. - Hi.
How are you today?
Money...
Sorry, I don't have any cash.
But I could buy you something to eat.
Chicken ciabatta.
- What? - Chicken ciabatta.
- Okay, chicken ciabatta. - Yeah.
- Hey... - Yeah?
What did you say?
- "No onions"? - Yeah.
Okay.
- Hi. - Hi.
I'd like a pay-as-you-go SIM card
and one chicken ciabatta.
Has anyone dropped off a parcel or letter
addressed to "Christian"?
Peggy?
- Peggy? - Yes?
Has anybody dropped off a parcel?
A parcel?
A parcel or a letter for Christian?
- No. - Nothing?
- Sorry. - Okay.
Have a nice day.
Here's your ciabatta. Pick the onions out yourself.
Hey. Hey!
Guard: Sir?
No picture.
Man: My starting point with this installation
as with probably all my art over the last...
...six years, um...
(loud click)
Uh...
My starting point was my immediate surroundings
and, uh... uh...
and uses everyday objects
to explore the meaning of one's human response to art.
By that, I mean they are framed instances
that shine a light on everyday objects
which might normally be not noticed
in their original context.
I was interested, for example, in--
(loud hissing)
What happens when a landscape painting
is hung in a gallery.
How does that landscape relate to its...
to the space of the gallery,
how does that space relate to the space
inside one's own head? Inside one's psyche, so that--
Man (in Swedish): Cock, goddammit!
Um...
(in English) You were talking about landscape,
and that reminds me of the late Robert Smithson,
who, in the 60s and 70s, was very famous for his--
Man: Garbage!
Um, of photography and, uh... and the landscape.
And, um, he used material such as soil, rock and leaves
and mixed it with other materials, like--
- (loud clap) - Man: Show us your boobs!
(audience murmurs)
Woman: We apologize, my husband has Tourette's.
- Other materials such as-- - Tourette's?
- Please, carry on. - Yeah, um...
So the piece of art is created,
when you're talking about earth art...
- (loud clap) - Man: Whore!
By introducing materials such as concrete, metal,
to rocks and soils and leaves, is that something...
Is that a headline for the work you do? I mean--
- Man: Fuck off! - Man 2: That's enough.
(loud clap)
Woman: Sorry. Sorry...
Artist: Smithson was a friend of mine, in fact, when I was--
He was interested in the aesthetics
of earth and the products of the earth,
and I'm interested in using those products,
- but not in their aesthetic. - Man: Garbage!
- (loud clap) - Cocksucker! Whore!
- Woman: This is outrageous. - I'm sorry.
Woman: If everyone that can be quiet,
please try to be quiet.
Shut up! Go home! Fuck off!
Woman: If the artist is okay with it--
(in Swedish) We have this one opportunity
to meet this fantastic artist...
Man: Show us your boobs!
Let's continue. Everyone is welcome,
irrespective of views...
(loud clap)
- Um, yeah... - (laughs)
(in English) Have you seen the exhibition downstairs?
You've seen it? Did you like it?
Man (shouts): Garbage!
- (all laugh) - Okay.
- Man 2: I liked it. - Okay.
What do you want to say?
Go home! Fuck off! Suck cock!
(audience chattering)
- We can't hear a thing. - Woman: The atmosphere is stressing him out...
Shut up! Go home!
- Camel toe! - (laughter)
Try to be a bit tolerant.
The man is suffering from a neuropsychiatric disorder.
This isn't voluntary, so show some tolerance.
Interviewer: Uh, yeah.
Artist: You're very welcome here.
I don't see any reason for any other interruptions.
(panting onscreen)
(sighs deeply)
(camera clicks)
(footsteps)
Fuck!
(footsteps approach)
- (cell phone rings) - (footsteps stop)
(whimpers)
Woman: What are you up to?
(dog barks)
(footsteps)
Woman: Algot, come here.
- (car door closes) - (sighs)
She's off her rocker...
(exhales)
Hello, my name is Christian. I believe you called me?
Well, I'll be damned!
(laughs)
Unbelievable.
Money?
- This is for you. - Thank you.
- And this... - Thank you.
Thank you...
(loud dance music plays)
Attention, people...
This is a very special place. Right behind here...
I'm serious, this is the Royal Palace.
The former private quarters of the king and queen is next door.
And one person here tonight has the keys...
(whoops, cat calls)
We thought we'd pop in and have a look.
Oh, crap! We have...
Don't forget to be extremely careful with the interiors.
(harpsichord music plays)
(plays music)
- Josefina! - Come with us...
(music stops)
Do you know this one?
(begins playing)
No.
(dance music pounds in background)
(speaks English) Do you want to sit?
No, go ahead.
(claps)
(shouts) Cunt!
(laughs)
Shh! Cunt!
Excuse me?
Cunt.
Did you say "cunt"?
Shh!
Cunt.
Okay.
Yeah, do you remember from the...
Shh!
Um...
- You want to go ahead? - No.
(in Swedish) I am not going to sleep with her tonight.
(dishes clink)
(thudding)
(door opens, closes)
Um... Anne?
Anne.
Anne: All right.
(door locks)
I can take that, yeah.
There.
- It's on. - Okay.
Hmm?
(panting)
(Christian grunts)
(Christian moans)
(Christian moans loudly)
(sighs)
Did you come?
Oh, yeah. Yeah.
(strained) Cool.
(Anne whispers) I can take that.
- What? - I'll take it.
No, it's fine. I got it.
- Give it to me. - No, it's cool.
(stutters) I'll...
- I'll do it myself. - Give it me, Christian.
Um... no.
No. I'll do it myself.
I'm going to the bathroom, so...
I'll throw it out myself. It's fine.
- Okay. - Thank you.
(Anne walks away)
(thudding)
Throw it away.
(laughs)
God, you really...
Hmm. You really think highly of yourself, don't you?
No.
I can't believe you think I would do that.
Do what?
You know what I'm talking about.
And what would that be?
(Anne laughs) You tell me.
- I'm not thinking anything. - Yes, you are.
- No! No. - You're lying to me.
- I'm not lying. - Yes, you are.
(mocks) "No, I'm not lying." Yes, you are.
- I'm not lying. - Tell me. What do you think?
Oh, my God, you're being all weird now.
- No, I'm not! - Yes, you are.
The second we're done you're going straight for the condom.
- Trying to be nice. - "Can I have it?"
- What? Do you-- - Let go of it.
- You let go. - It's mine.
It's not yours. Let go.
- No. - Yes, you're acting like a child.
- I'm not letting go. - Let go! (laughs)
- No! - I'm gonna let go if you don't.
- Let go then. - You let go.
- It's gonna break. - Yes, it is.
- Let go. - Give it to me.
(both speak)
(snaps)
(cell phone rings)
(sighs)
(continues ringing)
- Hello? - Woman: Hello, is this Christian?
Yeah.
This is the Central Station 7-Eleven.
I'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.
I'm holding it as we speak.
It has "Christian" written on it, so it has to be yours.
- And it was dropped off today? - Yes, today.
That's strange... Could you open it for me?
- You want me to open it? - If that's possible, please do.
There's a little note inside.
Is there a message?
- Yes, want me to read it to you? - Yes, please.
"You accused me of being a thief.
Apologize to me and my family,
or I'll make chaos with you."
Oh, I'll be darned... "Chaos," you said?
Yes. "Or I'll make C-H-A-O-S with you."
Uh-huh, yeah. Well, I'll pick it up as soon as I can.
There's a phone number here too, want me to say it?
No, never mind, I'll come and get the parcel.
- Thank you for calling. - Great, bye.
- Will you be wearing your hair up? - That's the plan.
- Okay - Is it time?
(together) One, two, three...
(whispers) Yes!
Man: What's up!
- How are you feeling about this? - Great.
We're getting closer.
I'm excited to hear what you've come up with.
- Man: Right. Are you all set? - Woman: Absolutely.
- Man: It's great to be back. - Great to have you back.
This project raises many interesting,
topical and humanitarian issues.
But the challenge here
is to cut through the media clutter.
Your competition isn't other museums,
it's disasters, terrorism,
and controversial moves by far-right politicians.
Keep that at the back of your mind, stay calm,
and Daniel will tell you about our idea.
(chuckles) Okay.
Daniel: Yes.
Moving media, that's what we recommend.
When making films today, you need to be aware
that people have a very short attention span.
If the viewer isn't hooked in two seconds, they'll move on.
In 10 to 15 seconds, tops, we also have to create
something so powerful or interesting
that people want to share it on Facebook,
social media, to the press, thereby creating a viral effect.
We conducted market research
on what's shared the most on social media.
It's generally vulnerable groups.
People post about women, the disabled,
the racialized, LGBTQ people... You can make that list longer,
but there is one group that affects people
even more strongly: beggars.
So we'd like to use a beggar in this clip,
but also turn it up a notch by making the beggar a child.
In addition to this, the beggar will have fair hair.
Personify the Swedish...
What are you thinking...?
We open on the Palace courtyard. The Square is visible.
So there's product placement from frame one.
Towards this artwork...
it's daybreak and the Square is shimmering
with its promise of trust,
caring, moral courage and all that good stuff...
Then we see a little girl approaching the Square.
She's shivering. She's all alone. She's crying.
She's wrapped in a dirty blanket
and you sense that she's homeless.
These are powerful images so we've hooked the viewer.
(laughing)
Daniel: The girl keeps on walking...
- Excuse me? - Sorry, please go on.
Powerful images... You wonder where it's all heading.
She's crying as she moves along...
(chuckles)
She enters the Square...
(Daniel claps)
And there, it's time for the unexpected.
The total opposite of everything the Square stands for.
The surprise effect will generate the attention we need,
creating the perfect platform to express your message.
All those values and issues your exhibition
would like to raise.
- Hmm? - Exciting...
(chuckles) And not at all what I expected.
- That's good. - A novel approach.
Woman: That's what we wanted to achieve.
So, what happens?
Exactly what happens?
Well, we haven't quite figured out exactly what that will be,
but in one way or another,
the girl will get hurt inside the Square.
Woman 2: What do you mean by "get hurt"?
Well, it's the last thing viewers expect,
- and opposite of... - (door opens)
- Hello. - Great! Come on in.
Christian: Michael, can I bother you for a sec?
Man: Christian, it would be great if you could join us.
It would be great if you could join us.
- Let's take it from the top. - Man: He needs to be on board with this.
This looks fine.
It's the right approach. Go ahead, run with it.
- Daniel: I could run through it... - Christian: I've got to go.
- Bye. - But...
Okay, we'll do a recap later. Let's move on.
Woman 1: Explain, please.
What's happening here is exactly what we want to achieve.
Questions like these reflect
how the general public and the media will react.
- Woman: That's what I'm afraid of. - Don't be...
Michael: Excuse me... What's your name?
Hello...
- Yes, you. - Nicki.
- Do you have a drivers' license? - Yes.
Come along.
- Right now? - Yes. Please.
Man: We have, of course,
prepared for crisis management.
That's part of our risk analysis, to prepare for any external concerns.
The same concerns I sense here.
- (baby fusses) - We can handle them.
(door closes)
Don't make me angry! Don't act stupid!
Christian: I don't know what you're talking 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 all this...
- I want his phone number. - You can't have it.
Why not? Look what he did to me, I need to talk to him.
I'm really sorry, we made a mistake.
What? Why did you write this? My parents think I'm a thief.
They won't let me play ball, or anything! All thanks to you!
- Hey, listen... - You put this in my letterbox.
It wasn't me, it was my boss.
No, you did this! You're lying. You're Christian.
- He's lying to me! - Calm down.
Look what he put in our letterbox!
Now my parents think I'm a thief.
- My boss was robbed... - All I get to do is stay home and rot!
They took his phone and his wallet...
So he put a note in all the letterboxes.
- What are you laughing at? - Well, it's...
- You bastard! Shut up. - Chill...
- You can't fight in here. - Look at what he wrote.
Don't I have the right to be angry?
Girl: I don't know who's right here.
He's pretending to have a boss called Christian.
And he's pretending that he can't understand my Swedish...
Translate, so the idiot understands.
Stop calling me an idiot.
- (shouts) Give me his number! - Shh! Calm down!
- Hey, where are you going? - Hey! What are you doing?
(both chattering)
What's wrong with you?
What do you expect me to do? I didn't do this!
(Christian shouts)
- Jesus! - What the hell are you doing?
- I'm so sorry. - (pants)
- You scared me. - You scared me.
- Sorry... - Christian?
- God! - I'm sorry, but...
- This is not a good time. - It's an emergency.
- What? - Excuse me. Sorry.
- It's okay. - All right...
One of the cleaners managed to sweep up
parts of the Gijoni exhibit.
- The piles don't look the same. - Are you pulling my leg?
- Hmm. - Are the piles gone?
No, but they don't look the same.
And we found a bag full of gravel.
So I'll call the insurance company.
No, no! No, don't do that.
Where's the gravel? The gravel that was swept away?
In a bag? Great.
And we have photos, don't we?
- Um-hm. - So here's the plan:
Meet me downstairs in 5 minutes, with the photos and the gravel,
and we'll fix it. Without telling anyone at all.
She doesn't understand a thing, she's American.
Are you serious? We're going to fix the piles?
Sure, it will be fine. Hm?
We'll sort it out.
- Okay. - Mm-hm?
Mm-hm. Yeah. Okay.
(sighs)
Do you remember what happened between us the other night?
We were here.
Yeah, no, after that though.
- We left. - Yes. And then?
- We got in a car. - Mm-hm.
Went back to your place.
No?
- Missing something? - Mm-mm.
You opened a bottle of wine, we sat down.
We talked, had a great time.
And then what happened?
Are you getting at something specific here?
- Yes. - You've got something...
Very specific.
Why don't you just come out and say it?
Because I want you to say it.
I want you to remember it.
Why is it so hard for you to say...
Come.
Why is it so...
I don't understand why it's so hard for you to say this.
- We had sex. - Great, yes.
Why didn't you just say it yourself?
You didn't want to say it.
(loud clattering)
(clattering continues)
Okay, you were inside of me, that's what happened.
- Yes, I am... - You were inside of me.
- I'm aware of that. - Okay, good.
You remember that then.
Listen, that is part of it.
Yes, it's a big part of it.
When a man and a woman, you know...
The man is...
- Good. - Inside the woman, yeah?
And that meant something, did it not?
Absolutely.
Okay. What did it mean to you?
I really enjoyed myself that evening.
- I did. I absolutely did. - Good, good, and I...
Can you please keep your voice down?
It's just there's someone right over there.
- Yeah, yeah. I like you. - Mm-hm.
And I have an emotional connection to you,
and I'd like to explore that because it's important to me.
I don't just go have sex with anybody.
You know? I have to have that.
Do you just go have sex with just anybody?
Excuse me?
Do you just go have sex with lots of other women?
Um...
Anne: Is this something that you do a lot?
Kind of a private question, isn't it?
Uh, well, so is being inside me pretty private, so...
But where's the connection there?
I'm asking how often you do this.
(loud clattering)
How... how often would you say that you take women...
that you don't know very well,
and have sex with them and be inside them?
I'm not sure... (stutters)
Do you not remember them?
Yeah, sure, I do. Yeah.
You know their names?
- Yeah. - Yeah?
- Mm-hm, yeah. - Always?
- Always. Yeah. - Yeah.
So what's my name?
I know your name.
Okay, then good, what is it?
(laughs) I'm not gonna go into this with you.
This is stupid.
Anyone that would know somebody's name
would just say, "Of course I know your name."
Name.
- I know your name. - What is it?
(laughs)
Anne.
Okay.
(whispers) You really pissed me off.
- Yeah. - Yeah.
I think you're fascinating.
Oh, now we're gonna get to the... oh.
Yeah, I think you're so interesting.
Yes, I really do. I'm really starting to figure you out.
- You are? - Yeah, yeah.
- Let's hear it. - I think you're interested in using your position,
which is a position of power,
to attract women and to make conquests.
That's what I think.
That's what I think. Sorry.
Mm-hm. Is that how I got you into bed?
Well, it didn't work for me in that way.
- Oh, no. Absolutely not. - Well, you admit it now.
It didn't work for you. That's not a turn-on for you in any way.
It's a lot of things, but I don't think it's...
It's nothing to do with the fact that I'm...
I... I don't think so.
Why is that so hard to admit, that power is a turn-on?
- Admit it. - But it's not true for me.
- It's not true. Okay. - No.
I'll admit to something else as well.
I'm really proud that I conquered you.
- Are you? - Yeah.
- Proud of having me. - Mm-hm.
You. You're quite a catch...
(loud clatter)
Yeah. Huh?
You're quite a catch.
(quietly reads) "You accused me of being a thief.
You will apologize to me and my family,
or I will make chaos with you."
(sighs deeply)
(distant noise)
(noise repeats)
(clicking)
(distant yelling)
(loud clicking)
(pounding)
Hello?
Hello.
(clicking)
- Child 1: Daddy! - Child 2: Why didn't you open the door?
Child 1: And why didn't you pick us up!
Christian: It wasn't my turn to do it.
- We had to call Mummy! - She didn't tell me...
- Go inside, you idiot! - Stop it!
No... What's going on here?
What's wrong? Don't fight like that...
- What's wrong with you? - (girl screams)
- 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!
(door slams)
Lilly? What have I said about slamming doors?
(shouts) What have I said about that?!
What have I said about slamming doors?
We've talked about this. What's wrong with you two?
Lise? You're the eldest... What's all this?
Hello?
(door opens)
(footsteps)
Why are you fighting like this?
What's the matter?
- I'm sorry, Daddy. - No, it was my fault. I raised my voice.
I shouldn't have shouted like that.
I'm sorry. Forgive me.
Do you want to wait here while I go get Lise? All right?
Welcome! I'm delighted 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 people,
or that you don't, you mistrust them.
This is done by pressing the appropriate button.
You're welcome to do that now.
(beeps)
Excited? Let's see what happens next.
(man whooping)
(Lise speaks Swedish)
- Lise: Should we? - Christian: What do you think?
- Lise: That's what it says. - Christian: So, shouldn't we?
- Lise: Here? - Christian: Mm-hm.
Christian: Is that okay? Does it feel strange?
- Lise: Yes. - (Christian laughs)
It'll be interesting to see if they're still there
when we get back.
This reminds me of something your grandpa told me.
He was a boy, about 6 years old.
And he was about to go out and play...
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 play
all by himself in the middle of Copenhagen.
Imagine if I had done that to you when you were six.
That never would have happened. Attitudes change...
Back then, people trusted other grownups
to help their children if they had problems or had lost their way.
But nowadays, you tend to regard other adults
as potential threats.
- Do you understand? - What's that got to do with this?
Everything. Read this again and you'll understand.
Read it again. Out loud.
(both) "The Square is a sanctuary of trust and caring.
Within it, we all share equal rights and obligations."
I don't have any cash. Sorry, I don't have any cash.
I don't have any cash.
(cell phone rings)
Hello?
Hello, I'm Pauline from YouTube Sweden.
- Oh, hello... - 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.
Really? Well, that's nice.
I presume you're referring to our artist talk.
No, it's "Blonde Child Beggar Gets Blown Into Pieces".
The reason I'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 clip on YouTube
that features kids being blown up?
I haven't seen the clip myself...
I don't work with content.
No, of course not. Listen, can I call you back
in ten minutes when I know more about this?
- Sure. - I'll do that. Great. Bye.
(clip plays)
This so can't be happening.
Unbelievable...
Christian: Excuse me, could you help me?
No?
- Could you give me a hand? - Sorry...
Christian: Excuse me.
Hi. Can you...
Hey, hey. I need your help.
Can you help me, please.
Can you please help me.
Yes, you. Can you help me, please.
Can you please come with me.
Please come.
Come. Come. Come on.
I need help.
Thank you.
Just...
Um, and just wait.
Just wait here.
My daughters are missing.
So I'm gonna go look for them.
If they come back here,
please tell them that I will be right back.
And just watch... the bags.
And my daughters, if they come,
tell them I'll be here in five minutes.
- (speaks Swedish) - Yeah. Thank you.
(baby cries)
"These people must die in hell.
If I meet them on the street, I will punch them in their faces."
"You make money off of scaring people shitless."
(Michael laughs)
"Why aren't these people dead?"
- Well, at least we got people talking. - He's here.
(rustling)
(on TV) ...have produced this video with taxpayers' money...
Hello...
Lise: Hi, Elna.
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 straight on their faces.
What's really sick is that my 6-year-old daughter...
- Could you turn that off? - ...sees body parts flying...
Who's that idiot?
Elna, this is an opportunity to take a stand.
We, as a museum, mustn't be afraid to push boundaries.
To transcend all kinds of taboos.
Nothing should stand in the way of freedom of expression.
That's my conviction. It's something to stand up for.
Without a doubt.
Elna: BabyBjorn...
Do you think they'll want to donate money to this museum?
You do realize
that I didn't have anything to do with this video?
- I didn't make it... - That's totally irrelevant.
Really.
I have a board meeting to attend.
And I want to make sure that you will comply
with any decisions we make.
Well, that depends on what we're talking about.
That would be decisions related to the consequences of all this.
(baby cries)
- Elna: Obviously. - Okay.
Good.
(door opens)
(Elna walks out)
Girls, if you want to draw,
there are some crayons over there.
- No... - You don't want to? Why not?
Elna: One more thing. We need new press photos of you.
- What for? - On the ones we have, you're smiling.
(crowd chatters)
Elna: Welcome.
Christian?
Keep in mind that they don't know about the clip.
(thunder over speakers)
Man (over PA in English): I'm asking for your utmost caution
during this performance.
(thunder cracks)
- What's happening? - This will be exciting!
Welcome to the jungle.
(birds chirping)
Soon you will be confronted by a wild animal.
As you all know, the hunting instinct
is triggered by weakness.
If you show fear, the animal will sense it.
(thunder cracks)
If you try to escape, the animal will hunt you down.
(drums playing)
But if you remain perfectly still,
without moving a muscle,
the animal might not notice you.
And you can hide in the herd,
safe in the knowledge that someone else will be the prey.
(insects buzz)
(whooping)
Woman: What's going on?
(crowd chatters)
(makes animal noises)
(crowd laughs)
(applause)
(makes animal noises)
- This is rather fierce. - Yes.
(clattering)
(makes animal noises)
(laughter)
Hello.
Stop.
- Stop. - (makes soft noises)
(laughter)
Very funny.
(laughs)
(stamps, grunts)
Go on, go away.
(grunts)
Go away.
(whoops loudly)
(stamps loudly)
(scoffs)
(whoops loudly)
(softly gibbers)
(loud animal noises)
- Come on. - (stamps loudly)
- Man: Okay... - (loud whooping)
(grunts loudly)
Let's have a round of applause... for Oleg Rogozjin.
- Amazing! - (whoops)
- Great! Thank you very much. - (continues whooping)
- Oleg, I just said that... - (grunts)
- I'm just saying that... - (grunts)
I'm just saying...
(loud clattering)
(cell phone rings)
- Woman: No. - (animal noises)
(noises continue)
(huffing)
(pants)
Help... (laughs nervously)
Hey...
That hurts a bit...
Hello? Help...
Fredrik, could you help me?
Okay... Help!
(screams) Stop it! Hey! Stop it!
You bastard!
Kill him, for God's sake!
(rain pours)
Are you Christian?
Lise: Daddy?
Why don't you go upstairs? This won't take long.
You can wait outside.
- What are you doing here? - You put this in our letterbox.
- My parents think I'm a thief. - You shouldn't be here.
Yes, I should. And you should apologize.
Listen to me, you shouldn't be here.
This is just weird. You have to leave.
- Stay here. Hey! - No.
Hey...
- Hey, stop! - Don't shout, people are sleeping.
If you apologize, I'll go.
Listen carefully to me...
I'm really sorry if my letter caused you trouble.
This has nothing to do with you. Please, let me finish...
It was nothing personal.
All 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. Apologize to me and my family!
Stop shouting! Stop this and get out!
I will smack you one, believe me.
I'm counting to three. One, two...
Get out.
Get out!
Let's go inside.
(knocking below)
What are you doing? Don't do that!
(knocking)
Stop doing that!
Stop it!
You called me a thief, so I'm making chaos with you!
Christian: Stop this...
No! Don't you...
(knocking)
- They're my neighbors! Get out! - Boy: Help me!
- Hello? Hello? - Beat it!
Why didn't you listen to me?
You should have listened.
Right? Now go home.
(outside) Go home.
(door opens)
All right, go and brush your teeth.
Go on, brush your teeth... Shoes off first.
Help!
Boy (shouts faintly): Help!
- Hello? - Help me...
Is there anyone here?
Hello?
(faint shouting) Help!
Here we go... Yes.
(water runs, clattering)
(faint shouting) Help me!
(faint shout) Help!
Help me...
Help!
(faint shout) Help me...
Help...
(rustling)
(shouts)
(dialing number)
Voicemail: The person you're trying to reach
is not available...
(beeps)
Uh, hi...
You can probably see who this is.
We just met on my stairwell.
I tried to call, but I couldn't get through.
So now I'm making this video instead.
Because you're absolutely right.
I apologize for the rotten thing I did.
I accused you of being a thief.
Please show this to your parents,
so they'll know you are not a thief.
The note said you stole my phone and my wallet,
but that wasn't true.
I want to emphasize that this is simply not true.
So I'd like to apologize. It was a bad thing to do.
It was so selfish of me.
Careless and prejudiced and I'm...
Looking back, I should have gone into your building,
knocked on the doors and asked a simple question.
But that never occurred to me, because...
Well, honestly, I was too afraid.
Afraid of the people who live...
Afraid of the people I picture living in a building like yours.
Those negative expectations say something about me.
They say something about our society,
because I'm sure I'm not the only one who's prejudiced...
You have preconceptions about us too,
probably because our lives are so different.
So suddenly, it comes down to politics
and the distribution of assets.
Because these problems can't be solved by individuals alone.
Society needs to lend a hand too. It's not enough
that I admit I was wrong and apologize to you in a video.
There are bigger, structural problems
involved that society needs to deal with.
I actually know one of the 291 people
who own more than 50% of the world's wealth.
A guy like that could fix all this in an instant.
(line ringing)
(line beeping)
Voicemail: Hi, you've called Christian.
I can't pick up my phone right now,
but please leave a message and I'll get back to you.
(crowd chatter)
Woman: Welcome...
We have...
(knocking)
We have called this press conference
in response to a certain video circulating on the Internet.
We believe that it's the best way to deal with your questions.
This session will be led by our chief curator,
Christian Juel Nielsen.
Hello.
Well, as previously stated...
We are here to discuss the video clip
published on the museum website and on our YouTube channel.
We have received a massive amount of messages
and indignant responses
with regard to this video, and this pains us.
- Could you please speak up? - Yes, certainly.
We're very sorry to have caused this commotion,
particularly since this clip was published by mistake.
This museum has clearly defined procedures.
It's my role to supervise all our communications
and marketing efforts.
In this particular case, I did not fully comply with protocol,
and this video was published without my knowledge.
I have acted irresponsibly in this matter,
and have therefore, in accord with our board,
decided to step down.
- Are you saying that you're resigning? - Yes.
- When? - As soon as possible.
- Were you sacked? - No, it was a unanimous decision.
We felt that it would be the best solution.
Define "we".
That would be myself, our management and our board.
Where is your solidarity with the voiceless
and the vulnerable members of society?
Where is your solidarity with the voiceless
and the vulnerable members of society?
(applause)
You should be ashamed of yourself!
Man: That's total bullshit...
You started out by saying that you and the museum board
agreed that you should resign.
Yes, that was our decision.
This is not the image we wish to project.
So you've reached the limit for how much freedom of speech
you can handle?
You've hit the ceiling in terms of communication?
Do you personally believe that you crossed a line?
I believe that freedom of speech
comes with certain responsibilities.
You must consider what you express.
But is it up to you to limit free speech?
Isn't such self-censorship cause for concern?
- You're in a powerful position. - The decision was not all mine.
But you took part in this decision.
You have clearly expressed that this clip
was so distasteful that you feel obligated to resign.
I made a mistake, the clip was published without my approval.
So that's where you draw the line? A fictional girl 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 personal opinions.
We're talking about the museum and my professional role.
What is it you don't understand about that?
This is a highly alarming future
you're creating for our society.
Quite frankly, it sucks!
(applause)
Christian... Christian?
I have questions about the content of the clip.
How did the choice fall on a blonde beggar girl exploding?
This just came from the PR agency.
If you wanted to draw parallels to the poverty in the EU,
why not have a dark-haired child?
How do you respond to that?
As I was trying to explain,
I have not dealt responsibly...
- Answer the question! - I just received a message...
...that might shed some light on this.
I hope so.
It's a statement from our marketing department
and the agency we used.
"We want to emphasize that the clip
published on the museum's website and YouTube channel
in no way expresses the standpoint of the museum."
"The clip was produced in sheer speculation to generate
attention for an upcoming exhibition."
- So it's all speculation? - What exhibition is that?
- Will you be blowing up kids? - (laughter)
What kind of exhibition is it?
To best explain the theme of the exhibition,
I'll quote the artist's manifesto, which goes something like this:
"The Square is a sanctuary of trust and caring.
Within it, we all share equal rights and obligations."
- Could you repeat that? - Quiet, let him talk.
"The Square is a sanctuary of trust and caring.
Within it, we all share equal rights and obligations."
- What's the name of the artist? - Lola Arias.
- Repeat her last name, please. - A-R-I-A-S.
All the press material is on our website.
- Including photos of Lola Arias? - Yes, in high-resolution.
Both of the artist and of some of her work.
There is an extensive press kit to download there.
Museum speculates in disgusting details to grab attention
Imam, Priest and Rabbi: stand united against PR campaign
Here is the exhibition they wanted to launch
(TV chatter)
(timer beeping)
(pot timer setting off)
Announcer: The coaches are Therese Johansson,
Yasemin Beyasit, and Josephine Kalmlund.
And here come the "Bobcats"!
(people cheering)
(music blaring)
(crowd cheering)
Great! Let's go for it!
Go, girls!
(people cheering)
(crowd applauding)
Girls' Coach: Hey guys, great job today.
Good teamwork. Way to work together.
Really, really proud of you girls.
Hey Ellen, listen.
What's with your attitude?
Look at me.
Sitting there feeling sorry for yourself isn't gonna help.
Okay? Stop wasting your energy on those thoughts.
Use it to help the team.
You guys, if you mess up, correct it and move on.
Feeling guilt isn't gonna help you.
Okay? How do you feel?
All right. Go ahead and take your showers.
Very good.
Hey, where are we going?
Christian: I'll explain in a minute.
(car system beeping)
(car door alarm buzzing)
Remember that boy who was waiting for us the other night?
He lives over there. I need to talk to him.
It will only take ten minutes. Twenty, tops.
You don't mind waiting in the car, do you?
Is that okay?
Daddy?
Daddy!
What is it?
Could we come along too?
- Well, if she wants to. - Do you?
Sure, let's go.
(soothing violin music plays)
- Are you okay? - Yeah.
(doorbell ringing)
(dog barking)
(dog howling)
(door unlocking and opening)
Hello... Sorry to bother you. My name is Christian.
This may sound a bit crazy, but I was hoping...
Did you happen to get a letter accusing you of being a thief?
Claiming that you stole a phone and a wallet?
- Tenant: Pardon? - A letter.
Accusing you of being a thief.
- What did you say I got? - A letter with a weird message.
- Tenant: In my letterbox? - Christian: Yes.
I put them through all the slots in this building.
(door forcibly shutting)
(dog howling)
Tenant: I have no idea what you're talking about.
Christian: Could anyone else in your household have found it?
My ex-wife comes around to clean.
She throws away any mail that doesn't have my name on it.
I have one more question...
Are there any kids living in this building?
- Sure, why do you ask? - I'm looking for a boy.
He's, like, ten or 12... Pitch-black hair.
About this tall? Really dark hair...
- Ten, 13-years old... - That's right.
Does he live here?
Tenant: He used to. I haven't seen him around.
- The family used to live here? - I think they moved.
I see...
- Do you know where they moved? - No, not a clue.
I'm afraid I can't help you.
- Okay. - Bye.
(mobile game sound effects)
(soothing music plays)