A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson)

[Stay Puft]

A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE
Dir. Roy Andersson

http://i.imgur.com/ApI6yS6.jpg

IMDb page (http://www.imdb.com/title/tt1883180/)

[Stay Puft]

I missed this at TIFF last year, though I remember some of the critics I follow calling it a case of diminishing returns. I rewatched the first two films last year, and honestly Songs didn't hold up as well for me. But that's only to say I don't think this film (or even You, the Living) is noticeably worse. I think the work over the whole trilogy is pretty consistent (and consistently strong); for me, it is the revelatory experience of Songs back in 2000 that has, I suppose, diminished over time. And that's fine.

What I love about this entry is way it applies a laser focus on the repetition and habit and ritual of day-to-day life. Some of the film's most memorable scenes are small sketches about e.g. a character who thinks it's Thursday when it's actually Wednesday, or the motif of e.g. a phone conversation ("I'm glad to hear you're doing okay") that is repeated in various contexts, reducing a multitude of lived experiences to trite configurations. There isn't always humor in its repetition (though there's plenty of that) but the film does achieve a rather endearing and droning absurdity.

And of course there's plenty of showstopping sequences. The most memorable visuals from the first two films were the final shot of Songs (the mass of people suddenly appearing) and the dream sequence from You, the Living (the train house). Add to this list Pigeon's sequence of Charles XII marching through the city and stopping in a bar for a drink of water. The sheer duration and complexity of the sequence's choreography had me wide-eyed in amazement. For that scene alone, I'm glad I was still able to catch this in a movie theatre. The song in Lotta's bar is pretty good, too. If nothing else, Andersson can be commended for developing such a singular, cinematic voice. I've grown rather fond of the ghostly figures that shamble through his frames.

One criticism I've read that I'd agree with is that Andersson can be rather blunt and preachy this time around. True enough, the film's ending is directly political in a way I don't think any of these films have been up to that point. With the force of three films behind it, though, I feel like Andersson has earned it. Particularly given the amusing way the sequence is resolved, which is at the very least tonally consistent, and I feel strikes upon the perfect ending note.

[Dukefrukem]

I want to Nay this for the title alone.

[Spinal]

This may be my most anticipated film right now.

[number8]

I tried to go see it but the only three theaters showing it all do not accept Moviepass. #FrugalCineasteProblems

[Dukefrukem]

Does Moviepass allow 3D movies yet?

[Spinal]

More of the same from Andersson. In his case, that's definitely a good thing. For me, Songs from the Second Floor is still the revelation, while the following two films are thoroughly satisfying echoes. Andersson is so effective at creating a dreamy, drolly comic universe that it is all the more haunting when he ventures into darker territory, as he does with a couple of late scenes in this film.

My favorite moment involves a rock and a shoe, with a punchline of Zenlike simplicity and truth.