Roy Andersson’s most recent anthology of human existence, About Endlessness, takes a slightly different tack than his more deadpan Living Trilogy titles, with some of the earlier films’ absurdist humor replaced by something more resigned and sorrowful, yet ultimately even more life-affirming. An unseen narrator introduces each single scene, shot in a long take with no camera movement, all focused on ordinary moments of weakness, gentleness, despair, and hope, “individually somber and cumulatively exhilarating” (New York Times). “Andersson channels his full stylistic arsenal in search of something far more delicate here: a recognition of the sublime in the prosaic” (Slant).