Roy Andersson

A.V. Club

From Roy Andersson to Zola, our critics salute the best films of 2021 so far

On this week’s Film Club, our critics A.A. Dowd and Katie Rife are creating a new tradition with the second annual edition of what we like to call the Mid-Year Awards. Last summer, Film Club ran an episode saluting the best performances, screenplays, direction, and films of 2020—a strange year for movies that turned out, despite all odds, to be a very good year for cinema as well. This year, with everyone from Vin Diesel to Steven Spielberg acting as cheerleaders for the return of the theatrical experience, our critics find themselves curiously underwhelmed with what 2021 has had to offer so far. But they push through, and reveal their picks for the best of 2021—a list that includes everything from Marvel blockbusters to African arthouse films.
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NYC Weekend Watch: Abel Ferrara, Hou Hsiao-hsien, Roy Andersson & More

After a hiatus as theaters in New York City and beyond closed their doors during the pandemic, we’re delighted to announce the return of NYC Weekend Watch, our weekly round-up of repertory offerings. While many theaters are still focused on a selection of new releases, there’s a handful of worthwhile repertory screenings taking place.
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Jacksonville Journal Courier

Is This How It Ends for Roy Andersson?

It starts like a bleak joke setup: a priest walks into a shrink’s office. He’s going through a crisis of faith, and though he can’t put a name to what has shaken his relationship with the almighty, he knows he needs help. The guy’s been chugging wine before sermons he’s not sure he believes anymore, and so he comes to the town psychiatrist with a plea for something, anything. Except that the good doctor wants only to go home, for the workday has just ended and he doesn’t want to miss his bus. Profound melancholy mixes with the banality of public-transit scheduling to dour comedic effect, driven home when the psychiatrist tells his rejected patient to “maybe be content with being alive” on his way out the door. The punchline leaves a bruise.

The Happy Existentialist | Roy Andersson’s 'About Endlessness'

One of the best things advertising ever did for art was to give us the films of Roy Andersson. His most revered works that comprise his “Living Trilogy”—Songs from the Second Floor (2000), You, the Living (2007), and A Pigeon Sat on a Branch Reflecting on Existence (2014)—owe not just their visual language, but also their very existence to Andersson’s work on hundreds of television commercials. In them, you will often see a carefully composed single-camera shot, trained on a single choreographed scene that inevitably ends in some tragic-comic surprise.

For Swedish filmmaker Roy Andersson, there is immortality in art

Fragments of existence build the absurdist tableaux of esteemed Swedish director Roy Andersson. Each stand-alone vignette in his features over the last two decades evolved from impressions that kindled an emotion within him. Their origin varies. Some reconceptualize scenarios he’s witnessed, while others take cues from fine art. Via their...

Review: ‘About Endlessness’ is another tragicomic marvel from Roy Andersson

Something funny happened the other day while I was working on a radio review of “About Endlessness,” the latest film from the Swedish writer-director Roy Andersson. At least, it would have been funny to someone watching me; it certainly wasn’t funny to me at the time, which is what makes it seem, in retrospect, like an almost quintessentially Anderssonian bit. Trying to record in a poorly soundproofed makeshift studio on an unusually noisy day, I found myself hitting pause every other sentence, fighting a losing battle with the sounds of power tools whirring outside and planes flying overhead.

Swedish director Roy Andersson's 'About Endlessness' screens at The Broad Theater

A priest losing his faith could be played for comedy or tragedy. Swedish filmmaker Roy Andersson conjures both in his own distinct visual style in a series of vignettes spaced out in his strangely fascinating arthouse film “About Endlessness.”. Utterly undone by the agony of trying to administer spiritual rites...

REVIEW: About Endlessness (2019) dir. Roy Andersson

How to classify the films of Swedish septuagenarian Roy Andersson? Are they depressants or palliatives, aphrodisiacs or abortifacients? Among their strikingly varied, erratic, and difficult to predict side effects have been reported giddiness, stoicism, euphoria, suicidal ideation; some subjects have even complained of boredom. Given the degree of volatility involved,...

‘About Endlessness’ Trailer: Swedish Renegade Roy Andersson Returns with Another Absurd Vision

Swedish director Roy Andersson is back with another tragicomic, vignette-based look at the absurd theater of life and death. “About Endlessness” first world-premiered at the Venice Film Festival back in the fall of 2019, where it won Andersson the Silver Lion for Best Director. Now, it is set for a release in theaters and on demand on April 30 from Magnolia Pictures.
Coming Soon!

New About Endlessness Trailer From Acclaimed Director Roy Andersson

New About Endlessness trailer from acclaimed director Roy Andersson. Magnolia Pictures has revealed the new trailer for About Endlessness, the latest startling comedy/drama from acclaimed Swedish filmmaker Roy Andersson (Songs from the Second Floor, You, the Living, A Pigeon Sat on a Branch Reflecting on Existence. About Endlessness trailer in...

‘About Endlessness’ Trailer: Roy Andersson Presents A Beautiful Peek At His Award-Winning Drama

Trying to describe the context of images you see in the new trailer for “About Endlessness” is a difficult task. The synopsis of the film (seen below) calls the feature a “reflection on human life in all its beauty and cruelty.” But one thing is abundantly clear from the footage shown, filmmaker Roy Andersson has crafted a gorgeous piece of art.