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For the eternity of Roy Andersson: a hundred times of loneliness


CRITICAL – The Swedish director’s film is unlike any other, but is recognizable from the first images. Hopper in blacker.

There is something. Like Modiano in literature, Roy Andersson (Songs from the second floor) created a universe. We recognize his films from the first images. These are paintings, vignettes, of Edward Hopper in addition to neurasthenic. There reigns a morgue light. The flesh is pale, a sickly gray. “We are already in September”said a gentleman sitting with his wife on a bench. We’re not even sure he’s addressing her.

A restaurant waiter fills a customer’s glass until red wine spills onto the white tablecloth. A communications manager unable to feel the slightest emotion remains frozen in front of a bay window at the top of a building. A legless plays O sole mio on guitar in a subway corridor. A pastor drinks the mass wine dry before the service. A couple whistle champagne in silence. A man and a woman entwined fly over the city and it evokes Chagall.

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