“A slapstick Ingmar Bergman” is how the Village Voice described Swedish director Roy Andersson, while the Washington Post name-dropped Jacques Tati, Monty Python, and even Andrei Tarkovsky to sum up an aesthetic that combines formal rigor with anticapitalist critiques, bizarre human caricatures, and sight gags. This series includes all six of his feature films, along with short films and commercials.
Read full descriptionA moped-riding Romeo loves a gum-chewing Juliet in late 1960s Sweden, but parental figures stand in their way. A wry, Milos Forman–inspired look at youthful hopes and middle-aged sadness.
A drifter gains employment in an isolated Swedish hotel with some peculiar goings-on. Tranquil long takes and bizarre humor create “visually a film in the masterpiece class . . . a thing of sheer beauty to behold” (Variety).
An intensely visual, surrealist, and frequently uproarious end-of-the-millennium epic about humanity’s confusions, regrets, and needs. “Like an Ingmar Bergman film as realized by Monty Python” (The Globe and Mail). Winner of the Cannes Film Festival Special Jury Prize.
Roy Andersson’s most recent take on the foibles, disasters, and despair of human existence—and some of its hope and beauty as well. “Individually somber and cumulatively exhilarating” (New York Times).
“‘Keaton-esque’” hardly begins to describe this brutally deadpan comedy . . . [Roy Andersson] seems to have translated the entire range of human misery into a loosely connected series of slapstick gags” (Chicago Reader).
These hilarious little capitalist nightmares will change how you look at advertising. Droll, strange, completely original: “the best commercials in the world” (Ingmar Bergman). With Roy Andersson’s three early shorts plus World of Glory and Something Happened.
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. “What if Ingmar Bergman directed Upright Citizens Brigade?” (Wesley Morris).
Roy Andersson’s most recent take on the foibles, disasters, and despair of human existence—and some of its hope and beauty as well. “Individually somber and cumulatively exhilarating” (New York Times).