Vincent and Niels, his young padawan, are the happiest art thieves in the world. They have succeeded in stealing the famous Black Square by Kasimir Malevich, considered a masterpiece of Russian avant-garde. Now they are to sell the work to a filthy rich client on a cruise ship, cash in the 60 mill price tag and hasta la vista, baby! Off to the Bahamas. Thug life! Except that their accomplice, who was supposed to bring them fake passports and tickets for the cruise, doesn’t show up. Our two crooks have no other choice than to grab and sedate the last two passengers, steal their identities and luggage, get onto the ship and keep a low profile throughout their journey across the Pacific. Unfortunately, the two goons they just ki… ergh, sedated happen to be the impersonators of Elvis and Bowie (Ziggy Stardust period) and they were hired to set the ship on fire with daily shows during the entire cruise… Thug life!
With his first feature, self-taught filmmaker Peter Meister shows himself to be quite the master. This is typically the kind of slapstick slapdash we’d normally keep at a distance, hoping not to bump into Jerry Lewis on the way. But THE BLACK SQUARE took us by surprise. The zany plot (we’ve only lifted the tip of the iceberg in the description above), which borrows equally from Billy Wilder, Buster Keaton and repetition comedy, carves a darkly comic jewel of a script that also delivers a

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