Throughout human history, protest has always held a center-stage role, shaping the narrative with the timbre of collective voice and action. From the rugged cobblestone streets of colonial Boston to the sunbaked squares of Tahrir, the black soil of Selma to the neon-lit expanses of Hong Kong, the power of protest has reverberated through time and across continents, shifting paradigms and confronting the status quo.

With this “battle of images” so resonant, to relegate this film as only an award-winning depiction of the on-going fight for social justice and freedom across Egypt would be an act of missing the point. This film is a tangible action, an expressive continuation of this endeavor towards democracy just as important as the raw material of which Noujaim’s narrative is composed. The underlying thesis that makes The Square so unique is that it eschews both the construct of a conclusion and the notion of a singular authorship, as the film chronologically traces the relationships of its six disparate characters.

Tareq, a Syrian American graphic designer living in Silicon Valley, says his life has “completely changed 100 percent over the past year,” a change he credits to protests in Egypt’s Tahrir Square exactly one year ago today. That date has since been enshrined as the beginning of the Arab Spring. That singular event launched a wave of protests, beginning in Tunisia and rapidly spreading across the region, culminating in an 18-day rally that drew on Egyptians of all stripes and from all corners who descended on Tahrir and eventually succeeded in ending Mubarak’s 30-year rule.