Roy Andersson was a little known Swedish director to the most, until in 2014, he was awarded with the golden lion at the Venice Festival, with what remains his most famous work: a pigeon sitting on a branch reflected on existence . But in reality this film concludes a trilogy that the director called: on being a human being, which includes songs of the second floor of 2000 and you, the living: therefore rejoice or living! Of 2007, these award-winning. In truth he had directed, thirty years before (!), Two other films, dedicating himself after photography and environmental documentary.
However, the most interesting work remains this trilogy, which is actually a filmic unicum divided into three parts and pushes to the overview. Compared to other serial works in cinema, this trilogy maintains the same atmospheres, scenographies and award sequences. It is not identified a story, but a series of paintings where the MDP remains fixed, with the actors that move like mannequins with very white faces, within non-colored spaces and depressing. But the anguish, which pervades everything, is in a sarcastic and grotesque key.
Although the approach is experimental, the scenes push deep reflections, which is then what the director wants to arouse in the viewer.
However, the most interesting work remains this trilogy, which is actually a filmic unicum divided into three parts and pushes to the overview. Compared to other serial works in cinema, this trilogy maintains the same atmospheres, scenographies and award sequences. It is not identified a story, but a series of paintings where the MDP remains fixed, with the actors that move like mannequins with very white faces, within non-colored spaces and depressing. But the anguish, which pervades everything, is in a sarcastic and grotesque key.
Although the approach is experimental, the scenes push deep reflections, which is then what the director wants to arouse in the viewer.