The second in Roy Andersson’s tragi-comic journey into the surreal expands on the vision of Songs From the Second Floor, to delve further into the strange pathology of modern life.
Andersson’s utterly unique style of filmmaking – seemingly unconnected vignettes that gradually build in theme and tone to offer a portrait of human existence – is taken further here. Even the title of his film feels like a manifesto, or a rally cry, that challenges us to look anew at the way we live, how we relate to each other and what we hold dear in the world. In the hands of a filmmaker unable to see the humour that accompanies such a perspective, it would make for grim viewing. But Andersson’s genius lies in his ability to draw out the comic grit of any hopeless scenario. Arguably the only director to be compared to both Monty Python and Ingmar Bergman, Andersson’s third feature is a sight to behold.