though it has a strong first half, the more it goes on the less it hangs together. Ostlund keeps a number of things too vague, like the fate of Moss's tightly wound character. He needs to let his instinct for suspense, which ignites individual scenes
some loose ends are delightfully confounding, like Moss's never-explained pet chimpanzee; some seem like they could have been wrapped up more gracefully. But Ostlund's eye for the subtleties of human behavior, especially public behavior, never fails
it's still a potent, disturbing work that explores the boundaries of political correctness, artistic liberty and free speech in provocative ways and should receive significant exposure internationally
