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About Endlessness  2019
Om Det Oändliga / Pour L’Éternité / Om Det Undelige / Über Die Underlichkeit
Director:  Roy Andersson
Producer:
  Johan Carlsson and Pernilla Sandström
Editor:
  Johan Carlsson, Kalle Boman and Roy Andersson
Music:
  Henrik Skram
Screenplay:
  Roy Andersson
Director of Photography:
  Gergely Pálos
slideshow
Cast:
spacer1 Martin Serner
spacer1 Jessica Louthander
spacer1 Tatiana Delaunay
spacer1 Anders Hellström
spacer1 Jan-Eje Ferling
spacer1 Bengt Bergius
spacer1 Thore Flygel
spacer1 Anja Broms
spacer1 Göran Holm
spacer1 Magnus Wallgren
spacer1 Lotta Forsberg
spacer1 Stefan Palmqvist
spacer1 Martin Serner spacer1 Jessica Louthander spacer1 Tatiana Delaunay
spacer1 Anders Hellström spacer1 Jan-Eje Ferling spacer1 Bengt Bergius
spacer1 Thore Flygel spacer1 Anja Broms spacer1 Göran Holm
spacer1 Magnus Wallgren spacer1 Lotta Forsberg spacer1 Stefan Palmqvist
spacer1 Martin Serner spacer1 Jessica Louthander
spacer1 Tatiana Delaunay spacer1 Anders Hellström
spacer1 Jan-Eje Ferling spacer1 Bengt Bergius
spacer1 Thore Flygel spacer1 Anja Broms
spacer1 Göran Holm spacer1 Magnus Wallgren
spacer1 Lotta Forsberg spacer1 Stefan Palmqvist

Synopsis:
One of cinema's most revered artists, Roy Andersson has created a peerless and influential body of work with films like Songs from the Second Floor, You, the Living, and A Pigeon Sat on a Branch Reflecting on Existence. Utilizing a trompe-l'oeil technique and constructing his films as a series of eerie vignettes, Andersson makes films with a singular, haunting atmosphere. His somnambulant characters float ghostlike through the detailed landscapes he and his teams construct — afraid to engage with one another or lost in grief, confusion, and metaphysical angst — with scenes often culminating in absurdist, awkward humour.

These vignettes document our lack of awareness. We reduce the monumental to the quotidian or elevate the quotidian to the monumental: a pastor who has lost his faith shows up to a psychiatrist demanding a session, only to be told the office is closing and the doctor has to catch a train, while a woman's broken shoe takes on near-tragic significance. This effect is underscored in the film by an imperious narrator who habitually states the obvious yet manages to sound as portentous and apocalyptic as the narrator of The Pilgrim's Progress. The sense of helplessness is most evident in the recurring image, a clear reference to Chagall, of a couple floating over a bombed out city once known for its vibrant culture, suggesting everything from Dresden to Damascus. It's a stunning visual, one that — like many of the images here — will linger long after the film ends.

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