About Endlessness

"About Endlessness" is a feature length collection of long static camera shots, each capturing a moment in the life of a human being. Some of the moments are mundane, some are disturbing, some are funny, many are melancholy. I was game to engage with the film's experimental approach for awhile -- it's like going to an art museum and having the paintings you're looking at come alive within their frames. But the concept eventually gets a bit monotonous and the film over stays its welcome by a good fifteen minutes or so. The compositions look absolutely gorgeous, though, even when what's on the screen is nothing but a simple, bare room.

Grade: B.

This movie is a thrill, trust me. I really wanted to watch this one because i loved its look and how unique and gloomy it is. The storyline seemed also really promising, something about human connection and our desire to understand life and explain its power and darkness and infinite but absurd beauty always gets. It is what makes "Synedoche, New York" or "Eternal Sunshine of the Spotless Mind" so great. They are sad, but lead to a greater realisation about humanity or left things and questions to digest. I personally expected something of the same feel, but what I got was... a comedy? Now, now wait a minute.

This film is one of the most funny films of the year and what is so striking is that it magages to poke fun at people and situations but at the same time it is so consistent in its sad tone and it feels so clear and to the point. Its flow is unbeatable. Yes, its basically a series of short stories, two of which are exlored more. Some moments are everyday simple moments that we give zero attention, but they are presented i nsuch a poignant way that we see how we sometime miss the overall beauty of simplicity and nothingness, bercause we have the idea that the big moments matter and are of great importance and we are often so blinded by our sadness and everyday issues that we don't allow ourselves to take a step back, look afar and see that everytihng hides a beauty, from a historical moment ,like war images, to a walk to school.

Personally, I feel like I've missed so many good moments becauseI was stuck in small problems and rubbish and I forget that a conversation or a kind gesture might be what we need to feel so that we can deal with our sad and torubled lives. Maybe looking from afar at anything and stopping to try to deal with every single thing we feel or suffer from, can lead to a small taste of salvation.

The film talks about faith, religion, bureaucracy,politics, existence, identity, the desire to feel and love and experience and find importance in true beauty and search for a way to feel complete, but its tone is sad and funny and I really loved her voice as the narrator.

The sad blues, the stylish browns, the dark reds and finally the hopeful yellows create a brand new world so distinct but so familiar to ours. The consistency in the framing and presentation, the delicate and socially and politically active script with tons of funny and satirical dialogue and coscepts and the truly entertaining storytelling, lead the viewer to a significant, enlightening and kind of cathartic and profound experience about the human struggle and joy.I don't want to analyse or dig any short story up. Just definatley watch this one and experience it.

It's like the most fullfilling and beautiful poem cmae to life to tell its story in the most interesting and hillarious of ways.

Greetings again from the darkness. A quarter-century once elapsed between feature films for Swedish filmmaker Roy Andersson. He only directed a handful of short films between "GILLIAP" (1975) and SONGS FROM THE SECOND FLOOR (2000). Mr. Andersson makes Terrence Malick look prolific. He's certainly not a traditional filmmaker and this latest is not a typical movie. In fact, its highest and best use may be in a graduate Psychology or Philosophy class, so that the mental capacity of students can be stretched and tested to determine whether Andersson is celebrating life or bemoaning our existence.

The narrator begins most segments with something along the lines of: "I saw a man ...", "I saw a woman ...", "I saw parents ...", and "I saw a couple floating ...". These lead us into static one shot vignettes with little or no dialogue. For example, in the first segment, a woman on a park bench concludes with, "It's September already." There is a priest who makes a recurring appearance as one who has lost his faith. In another, parents have lost a son. The emphasis is on the artistic impression and one's own interpretation.

Over the opening, and again later in the film, we see a couple floating over the ruins of Cologne. It's Andersson's take on Chagall's 1918 painting, "Over the Town". Another segment is a recreation of Hitler's bunker in Kukryniksy's 1946 painting, "The End". These are simple, stark, low-key snapshots in time. The color palette seems to be off-gray, and the sun never shines in this world - there's no tanned skin in the bunch. Andersson offers just enough moments of hope/happiness to prevent this from being 80 minutes of full-on depression. We always think he's trying to tell us something, but can't always decipher what the intended message is. Like the best art, it's up to your interpretation, and surely dependent on individual perspective.

Release delayed due to COVID-19.

After watching Roy's other films I was really looking forward to this film - as some fans had said it was his best film ever. I set myself up for a treat. But I was let down. Yes, the art direction and acting are absolutely superb. But the stories didn't work for me. I was bored.

31 vignettes that are a cross between the film Wings of Desire + paintings by Edward Hopper + a thematic apperception test.

The camera doesn't move.

The colour palate is richly muted.

Not a lot happens.

Some scenes are completely banal.

Some are fantasy.

Some tragic.

Still, it's engrossing in its quiet feeling of solitude.