Sam and Jonathan, a pair of hapless novelty salesmen, take us on a kaleidoscopic tour of the human condition, unfolding in absurdist episodes: a sing-along at a 1940s beer hall, a randy flamenco teacher, a thirsty King Charles XII of Sweden en route to battle, and more slices of reality and fantasy.
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A Pigeon Sat on a Branch Reflecting on ExistenceDirected byRoy Andersson
I actually enjoyed this one even more that You, The Living. Might be a mood-thing. But it also might be that I have become more like this characters myself. I definitely identify more with them, and feel their sentiments. Existential, philosophical, light, heavy, filled with humor, ugliness and beauty! Recomended.
A really extraordinary film. The sequence involving the arrival of a squadron of Charles XII's cavalry in a modern Gothenburg cafe en route to the disastrous Russian campaign was so fantastic I almost levitated. Some of the visual metaphors are deeply disturbing but remarkably resonant and the astonishing ability to keep the whole of the frame in focus invites you constantly to peer into the recesses and the fringes.
This would be an excellent film to watch just before committing suicide. I used to sell those laugh boxes, they were a riot. But one can't make a living off them. Well, maybe the person who originally introduced them made a pretty penny. They aren't so hot anymore. It seems wrong to give this film stars, I want to give it some other symbols like a trapezoid, a hole, and a question mark.
Not nearly as brilliant or humorous as expected. After a few comical sequences it progessively becomes a grim exercise on life on earth being an invariably miserable business. All the film's protagonists are piteous and Roy Andersson doesn't allow them a gleam of hope. The succession of sequences seems like an arbitrary compilation of material accumulated over a couple of years, the interconnections seldomly work.
Another example for Roy Anderssons's laconic art of film making. Each one of his framed, static single shot epidodes - even the shortest one - contains a narration in itself. The whole film is a sophisticated network of bizarre and grim stories somehow connected to each other by certain words, actors or leitmotifs (like the dove: visible only in the first shot but acoustically present in many other scenes).
Yes , it overstays its welcome for the last 18 min. Those minutes are so tonally different from the rest of the trilogy that it feels like you've started watching another film altogether. It does derail the film if I'm quite honest. The rest is pure "delight" as we are reminded why the films of Andersson are so special
i saw andersson speak in person after this film, he had an unexpected refreshing smiley and jolly demeanor, with only a fraction of darkness. i guess thats what i love about his films, they are definitely dark, but overall are celebrating the mundane, life and death.
A brutal, absurd, tragicomic series of cringeworthy vignettes, each perfectly timed to be longer by a full measure of awkwardness than it should be. Shot in sallow yellows, pus greens, institutional shades of bile, and verging on exploitative in its grim(ly comic) but moralistic portrayal of feeble lives. Will seep into, render pathetic, any post-film conversation. Well executed. Effective. And totally not my thing.