Roy Andersson’s latest film, possibly his last, offers more deadpan glimpses into the Swedish director’s surreal and sometimes horrific imagination
This typically humanist compendium of human frailty from the creator of the acclaimed “Living Trilogy” has been described by some as Roy Andersson’s final feature. That’s certainly the impression the Swedish film-maker himself gave in Fred Scott’s recent superb documentary Being a Human Person, in which Andersson is captured on camera struggling to complete what is only his sixth feature in as many decades. Following on from the Golden Lion winner A Pigeon Sat on a Branch Reflecting on Existence (2015), it’s tempting to read About Endlessness as an autumnal closing statement for his singular oeuvre. Yet in reality it is both less weighty and more open-ended than that, feeling at times like a familiar compilation of poignant outtakes and self-contained curios from a still vibrant body of work.
This typically humanist compendium of human frailty from the creator of the acclaimed “Living Trilogy” has been described by some as Roy Andersson’s final feature. That’s certainly the impression the Swedish film-maker himself gave in Fred Scott’s recent superb documentary Being a Human Person, in which Andersson is captured on camera struggling to complete what is only his sixth feature in as many decades. Following on from the Golden Lion winner A Pigeon Sat on a Branch Reflecting on Existence (2015), it’s tempting to read About Endlessness as an autumnal closing statement for his singular oeuvre. Yet in reality it is both less weighty and more open-ended than that, feeling at times like a familiar compilation of poignant outtakes and self-contained curios from a still vibrant body of work.
- 11/8/2020
- by Mark Kermode Observer film critic
- The Guardian - Film News
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