This absurdist pastiche of mostly static camera single takes and ubiquitous pastel blues and greens is an amalgam of Buñuel and Monty Python … with a bit of Bergman’s The Silence and some Fellini too. At least, those films (and filmmakers) come to mind at the moment.
Amusing and impressive.
One of its moments of heightened wit is when the camera suddenly moves – not so much on the dramatic or profound, but for utilitarian reasons. The first time the frame shifts and the camera goes mobile is just to follow a man down the center of two seemingly endless tables and then back to reposition at the same static frame where it started. Dolly as punchline.