Sobre lo infinito

31 vignettes that are a cross between the film Wings of Desire + paintings by Edward Hopper + a thematic apperception test.

The camera doesn't move.

The colour palate is richly muted.

Not a lot happens.

Some scenes are completely banal.

Some are fantasy.

Some tragic.

Still, it's engrossing in its quiet feeling of solitude.

It feels like telling a thousand cold jokes to an indifferent person.

Greetings again from the darkness. A quarter-century once elapsed between feature films for Swedish filmmaker Roy Andersson. He only directed a handful of short films between "GILLIAP" (1975) and SONGS FROM THE SECOND FLOOR (2000). Mr. Andersson makes Terrence Malick look prolific. He's certainly not a traditional filmmaker and this latest is not a typical movie. In fact, its highest and best use may be in a graduate Psychology or Philosophy class, so that the mental capacity of students can be stretched and tested to determine whether Andersson is celebrating life or bemoaning our existence.

The narrator begins most segments with something along the lines of: "I saw a man ...", "I saw a woman ...", "I saw parents ...", and "I saw a couple floating ...". These lead us into static one shot vignettes with little or no dialogue. For example, in the first segment, a woman on a park bench concludes with, "It's September already." There is a priest who makes a recurring appearance as one who has lost his faith. In another, parents have lost a son. The emphasis is on the artistic impression and one's own interpretation.

Over the opening, and again later in the film, we see a couple floating over the ruins of Cologne. It's Andersson's take on Chagall's 1918 painting, "Over the Town". Another segment is a recreation of Hitler's bunker in Kukryniksy's 1946 painting, "The End". These are simple, stark, low-key snapshots in time. The color palette seems to be off-gray, and the sun never shines in this world - there's no tanned skin in the bunch. Andersson offers just enough moments of hope/happiness to prevent this from being 80 minutes of full-on depression. We always think he's trying to tell us something, but can't always decipher what the intended message is. Like the best art, it's up to your interpretation, and surely dependent on individual perspective.

Release delayed due to COVID-19.

This is really why I signed up to MUBI. Andersson's work isn't for everyone. A bit too avant garde, surreal, down right weird and okay fine it's all that, but indulge his work and you'll be rewarded. His latest About Endlessness follows his signature style of slightly hyper real looking shots, held with a locked frame for long periods of time, whilst sparse movement and dialogue sits within. These frames are made to be poured over, for meaning or simple appreciation. This is just the canvas though. Andersson's strength is what he paints on top. It's the patience in each scene, not hindered by the need to cut and trim with multiple cameras. Everything's allowed to breathe. So we get a varied cast going about their mundane lives. Sometimes with some dialogue, often in complete silence other than the sounds around them, usually with a simple narration. It's a wild trip to be honest from the waiter pouring red wine all over the pristine white table cloth, to the old man dragging a crucifix up a narrow hillside street as he's whipped. He's dreaming thankfully, but all the scenes have that quality to them. The priest who's lost faith, the boys yet to find love, the grieving parents, the woman with a broken shoe, they could all seem incidental. But then there's the floating couple above a war ravaged city where only a cathedral remains standing. On the whole it feels a little more accessible than Andersson's other films, but packs no less a punch. Some scenes will make you smile or laugh, others study in a confused awe. One or two will stop you in your tracks, for reasons of horror, sympathy or joyful retribution. You find yourself wondering which scene is your favourite, but it's impossible to choose. The shots with lots of people seem masterful in a way over the more minimal set ups, but there's always a control present that marvels. What does it all mean you might ask. Well that's the fun isn't it, whether trying to decide, interpret or simply immerse yourself in it. I'll shamelessly say I tend to favour the latter. These scenes are like paintings with a gorgeous even light and pale faced characters, but I'd say it's simply about people, moments, the things that make us human, that make us the same and distinguish us from others, all wrapped up in the fragility of our existence. Time is irrelevant. Maybe I'm wrong, who knows. What I do know, is that this is brilliant, a wonderful addition to Andersson's stunning body of work and I think we'd all rather be a tomato.

After watching Roy's other films I was really looking forward to this film - as some fans had said it was his best film ever. I set myself up for a treat. But I was let down. Yes, the art direction and acting are absolutely superb. But the stories didn't work for me. I was bored.