A big collection of films that might be considered as strange, mindfucking, surreal and weird. Sorted by year. Suggestions are…
You, the Living
In the Swedish city of Lethe, people from different walks of life take part in a series of short, deadpan vignettes that rush past. Some are just seconds long, none longer than a couple of minutes. A young woman (Jessica Lundberg) remembers a fantasy honeymoon with a rock guitarist. A man awakes from a dream about bomber planes. A businessman boasts about success while being robbed by a pickpocket and so on. The absurdist collection is accompanied by Dixieland jazz and similar music.
Film #7 of Gustav's Recommendations
”Tommorow is another day.”
Well, I have a confession to make. I did something horrible (from a cinephilic point of view of course) while watching Roy Andersson’s 2000 film, Songs From the Second Floor: I was so bored, upset, angry and confused that I used fast forward button and skipped the final 15 minutes of the film. That explains how I felt about that “film”. So I was both hopeful and nervous approaching this, I had a feeling that things will be going to be as dire as Songs and at the same time I was hoping that this time around I may be able to understand what really goes on in Mr. Anderson’s mind.…
The biggest issue I had with You, the Living was that it wasn't, I repeat, it wasn't Leon.
"But they're completely different films!" I hear you cry. Bullshit. That's no excuse for this to not be that film. Every film should be Leon or else I'm going to hate it from now on. Heck, if every film isn't Leon from now on, I'm going to bomb anyone who isn't watching Leon because I'm charge of Hollywood now.
Okay. Fine. It's not Leon but either way I can't say I liked it an awful lot. I mean, I enjoyed it from time to time. It was absurd, and surreal and was meaningful, but I just don't think this style is for…
A black-comic version of THE WHITE RIBBON, depicting, with deadpan hilarity, the self-absorption and myopia that can leave a population blind to the rise of fascism, and plant the seed of it in the first place. Exquisitely composed so that its austerity nonetheless places visual gigs in multiple distance planes in nearly every shot. Not as obvious as in SONGS FROM THE SECOND FLOOR, which occasionally cribbed right out of PLAYTIME, but Andersson seems, directorially at least, Tati's heir.
Gustav Roman told me to watch this. A LOOOONNNNGGG time ago. Now I can say I finally got to it. It was on Film4 so I taped it and watched it this morning.
You, the Living is an incredibly surreal film, packed of fifty or so vignettes, each commenting on the human condition. How we long to be loved, to fly above our weight. It doesn't offer an opinion on it, but merely a window to peer in, allowing you to assume your own stance on humanity. Is it pathetic, the fact we simply continue with our lives every day despite setbacks, never reaching our goal? Is it an undying ambition inside every one of us? Or is it just…
Roy Andersson is some kind of insane genius. This was my first experience of his style and it has totally blown me away.
His carefully constructed mise-en-scene makes every single shot a work of art as he points his camera at the absurdity of the realities of modern life. So many times I found myself laughing hysterically at what ordinarily might be considered horribly sad events and I think that is the true genius behind this film.
Andersson's humour and insight will certainly further reward repeat viewings, something I intend to do myself in the very near future.
Like all of Roy Andersson's films, this one is massively underrated and truly spectacular. Little more than a series of vignettes shot on expensive, custom built sets, the stories give a look into a world of cold, emotionless death, where the film's characters seem stuck in an eternal damnation of mundane repetition. Though not quite as good as Songs from the Second Floor, this great film has many flashes of true auteur craftsmanship, such as the famous dream sequence in which a newly married couple are greeted by hundreds of adoring fans as they depart for their new life together. But of course, this is only just a dream.
A bleak hilarious parody of life.
Watched for 4:3's You Have To See…
like a gregory crewdson collection played for dry laughs; a droll, wryly melancholic masterpiece about the human condition. add to the absurdly fruitful list of modern classics produced in the year 2007.
This is a film quite simply about human existence. It is about how we reach out to people, how the environment we inhabit defines us, what the people we meet mean to us. It is a film about everyone. The fifty interlocking stories, told through static, meticulously crafted shots, is absolutely startling in their emotional clarity and thematic coherence.
Roy Andersson's direction renders his films looking like moving paintings, stuck between movement and stillness. The sound design is also deliberate. There is no air, merely piercing words and the occasional burst of tuba.
The segments tie together less directly than in "Songs from the Second Floor," yet this is a natural side effect of its themes being more intimate. While…
ONE OF THE FUNNIEST FILMS I HAVE EVER SEEN IN MY LIFE!!! I WAS ROLLING ON THE GROUND IN LAUGHTER! IT WAS HOWLARIOUS MY STOMACH HURT!!!!!!!!!!!!!!!!!!!
Imagine if you put Tati,Kaurismaki and Bunuel in a blender the resultant concoction would be this delightful cocktail!! I applaud Andersson for his vivid imagination...it captures life in all its ups and downs! Highly original,marvelous acting and brilliant direction makes this one of the years very best!
P.S - The Guitar solo number ,the dinner table scene and the Barber Shop sequence were my personal favorites :-)
If you mention Swedish cinema, the first things that come to mind are dark, intense, depressing Bergman dramas. People are often led to believe that the thing that would be called the Swedish sense of humour is a non-existent thing.
This film would give the lie to such a belief, it is a laugh out loud film which retains the ability to provoke thought and raise puzzling questions about the human condition.
The film consists of a series of brief tableaux, each lasting a minute or two, all filmed with a fixed camera looking into different scenes, filmed in a detached, observant way. The settings are faceless locations in a non-specific European city, peopled by rather
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