İsveç'te monarşi kaldırılmış ve şehrin göbeğindeki kraliyet sarayı bir modern sanat müzesine dönüştürülmüştür. Müzenin baş küratörü Christian, modern dünyanın tüm gerekliliklerini ve aynı zamanda kendine özgü duyarlılıklarını yerine getiren bir adamdır. Ancak hayatı rayından çıkmak üzeredir: telefonunun çalınmasından sonra yaptığı hareketler, onu utanç verici durumlara düşürür. O sırada müzede sergilenecek Arjantinli bir sanatçının yeni enstalasyonu 'Kare'nin tanıtımını yapacak halkla ilişkiler şirketi çok provokatif bir kampanya hazırlayınca tam bir kargaşa ortamı oluşur. Christian ve müze için varoluş amaçlarını sorgulamaları gereken bir ortam oluşmuştur.

Kare

The hyped French philosopher Malentende visits Sweden to present a groundbreaking hypothesis. Professors are ecstatic as they gather during the break to dissect the meaning of his words. Intellectual reasoning takes unexpected leaps in this wildly humorous film about the perils of blindly following authority.

Cows

The girlfriend Klara has recently fallen in love and wants nothing more than to hang out with her boyfriend. The mother-of-two Anna clocks how long it takes for her husband to cook baby formula. The ex-wife Vera can't let go of her ex-husband. The feature-film debuting Katja Wik presents a squib right on the money about women's tendency to, both consciously and unconsciously, limit themselves in their close relationships of two. Each frame conveys the film's theme of power manipulation and Katja Wik's neologism "victim-mentality rhetoric" (offerrollsretorik) is used by all parties as an effective weapon. Without stagnating in bitterness, The Ex-wife serves as a funhouse mirror reflecting this disturbing trait, which most of us can recognize, but which few dare to acknowledge

The Ex-Wife

Two weeks before the graduation exhibition at the art school, the new principal Jack von Rosen (Magnus Krepper) takes office. During his presentation, he presents business-oriented ideas and it turns out that he secretly represents an ancient society that wants to commercialize art. Meanwhile, one of the students, Irma (Isabelle Grill/Hilda Krepper), is commissioned by God to create the perfect work of art and thereby becomes a target for Jack and his company. The debuting directors from the collective KonstAB, however, do not let Irma stand alone in the fight, but give her support from the school’s two lecturers and not least a Danish Dadaist.