Winner of the 2014 Venice Film Festival, Roy Andersson’s third film in his Living Trilogy refines his unique aesthetic—part Buster Keaton and Samuel Beckett, grimly existential and weirdly hopeful, and an answer to the query, “What if Ingmar Bergman directed Upright Citizens Brigade?” (Wesley Morris). Here a sorrowful novelty-prop salesman, handsy flamenco teachers, and even long-ago kings propel themselves (barely) through a series of still-life tableaux soaked in beige and mediocrity, with Andersson’s staging revealing the existential trauma and strange beauty in every human encounter. Thanks to his touch, “for all the despair and horror on display, you walk out of it light and hopeful” (New York Magazine).