A big collection of films that might be considered as strange, mindfucking, surreal and weird. Sorted by year. Suggestions are…
You, the Living
You, the Living is a film about humankind, its greatness and its baseness, joy and sorrow, its self-confidence and anxiety, its desire to love and be loved.
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.
forget icy crime films, this is what Swedish film should be stereotyped as, depressing humane hilarity
I'm not quite sure what to say. A brief meditation on this movie's 'cover' was enough to make me watch as soon as I could. And what good judgment I showed tonight. Roy Andersson is an acclaimed director whom I have hardly explored, joining the ranks of other maestros such as Bunuel and Malle. I must get on these.
Following the painfully mediocre lives of several discrete characters, Du Levande examines the absurd qualities of life, and dissects the emotional spectrum, creating a clear dichotomy between significant issues and ridiculous concepts somehow universally understood as issues. I have nothing else to say, the brilliance of this masterpiece is lost in my feeble understanding of existence. A must see.
50-or-so absurdist vignettes about mostly-middle-aged Swedes who wail to postmen that nobody understands them. It's all in long shot and meticulously staged; every interaction is a collision of crossing vectors; every actor is as much a part of the set as the set itself (and often about as vivacious). Might sound like Wes Anderson, except it's hilarious instead of cloying. It's also often quite melancholy, which just makes it more hilarious, at least to people like me (and the rest of New Jersey, apparently, considering the length of that waiting list).
Film die z'n eigen universum creëert. Heel sober, heel koel, maar duidelijk tot in de meest verregaande details uitgekiend. Blijft de hele tijd op een hilarisch spoor voortkabbelen, Tati-achtig, maar dan kunstmatiger.
Vond het uitermate heerlijk.
"La vita è una commedia con un finale tragico, o una tragedia
con vari momenti comici"; così commenta il film Roy Andersson,
mentre mette in mostra un'umanità alla deriva: atona, disperata,
ma ilare, in attesa di una catastrofe imminente.
Roba per palati fini.
An a-typical film. Tragic stories with a comic layer. Filmed from one corner. Unique!
The second part of Roy Anderson's trilogy, it's a ruthless and funny portrait of angsty people who feel that the world doesn't understand them. The movie navigates through a series of trivial situations in which we encounter characters that alternate between those who search for affection and those who ignore them.
Visually it once again uses depth of field and monochromatic compositions brilliantly like Songs from the Second Floor, but it adds a few splashes of colour, which give the movie a playful quality that is reinforced by the music.
Andersson has done this exact trick before, to much greater effect, in 'Songs From the Second Floor,' which had many more memorable scenarios and scenes. You have to wonder why he needed to make this a trilogy at all--it's essentially the middle act of one really long anti-story. Here's hoping part 3 has a bit more reason for existing.
tight pussy, loose shoes and a warm place to shit...
- A Page of Madness
- Un Chien Andalou
- L'âge d'or
- Meshes of the Afternoon
- Miller's Crossing
- Army of Shadows
- Boudu Saved from Drowning
Sometimes I get stuck in a rut when it comes to watching films. I either just watch anything that comes…
- Ace in the Hole
- The Adventures of Baron Munchausen
- After Hours
I don't usually post others' best-of/essential film compilations, since there are too many of them to keep track of, but…