Un piccione seduto su un ramo riflette sull'esistenza

This is my very first review here. I was so impressed that I was forced to register here and tell you all why nobody should miss the masterpiece.

This film pretty much summarizes how it feels to live in the world where 99% of people you deal with are imbeciles. In other words, it gives an accurate description of the state of the world right now. When you think carefully, you understand there is not that much difference between Apple Google whatchamacallit CEOs and those two guys of the film who work in the "entertainment business" and help people to have some good time. You look around and you see the bleakness of the film isn't an overstatement. It actually mirrors our reality in some most perfect manner. No one cares anymore. Nobody's listening anymore. We're tired, exhausted and uninspired. Some guys still make money and have some good laughs - but what's the point making any big fuss about it while the party's pretty much over and the world is doomed to be blown up sooner or later?! The last scenes are brilliant metaphorical statements of the western welfare societies and wrap up this instant classic fantastically.

Check this out and you'll see what I'm talking about, thanks.

Please, listen: if you are looking for a "classic" story you should choose something else. A story is here, indeed, but it's buried under a series of episodes and different POVs – it feels like we are having the chance to observe the behavior of the inhabitants of a parallel dimension from the fixed cameras of an internal surveillance video system (a very special one, equally able to look in the present, in the past and in the dreams of the strange characters displayed).

What we get, in the movie, it's a composite drawing of the social, private, and inner lives of those characters. And it's strange, of course: sometimes you can hardly tell the difference between the dream and the reality and the reverie – as those surveillance cameras never flinch and inch, even in front of the most strange happenings. But, even if the cameras never moves, the images we are shown constantly jump the tone of the story from drama, to comedy, to horror, to nonsense, with a quickness that is uncommon for the genre-related, petrified narrative codes we are used to.

The main thing I could understand, in the end, is that the problem of the people living in this world is their inability to care about each other's feelings. Some of them eventually even understand this, and with regret, because they realize that if you are not able to love your close ones then you will hardly be able to love yourself. Still, all of them look completely unable to go over this self-imposed limit: so it happens that the stuffed pigeon at the begin of the movie seems by far to be the most alive of the characters featured – not to mention the happiest one.

This Scandinavian movie which takes place in an unnamed Swedish town is about bringing joy and laughter to people when there isn't really anything to laugh about. Jonathan (Holger Andersson) and Sam (Nils Westblom) are two joke article salesman, who have only three products: vampire teeth, a canned laughter sack and a frightening rubber mask which they try to sell to resellers. However, the duo is not successful in what they do and so are their – not so funny – products and their uncreative and repetitive sales talk. As they stumble into financial trouble their friendship and business project is about to collapse.

This loose and rather sad story is patched with more absurd incidences. A longer scene takes place in a bar when the young Swedish King Charles XII (1682 - 1718) rides in, as he guides the army to the battle against Russia. Charles asks the handsome barman to come with him to the war. Later, when the army comes home and the war is lost, Charles again visits the bar because he has to go to the toilet. These scenes are not meant to be taken literally but rather embraced as pure images decorated with strange and morbid humor. The world which director Roy Andersson paints for the viewer is drab. There are no colorful things: walls are ocher, bars are gray, the furniture is simple wooden dark brown, and even the faces of the protagonists are white. Nevertheless, the dry jokes, the black humor and the absurdity make the movie fascinating and funny, though a guilty pleasure. Is it really OK to have a laugh or – even worse! – to sell jokes in a world that is so odd, so gray, so dark and sad?

There are two scenes that may have caused uproar but I think not many people made it that far since these scene appear rather late in the film. I won't give it away; you have to find out for yourself. The things that drive common movie goers away are the incredible slow pace of the movie (think of REPULSION (1965)) and the lack of a cohesive storyline. Art seekers on the other side will find an interesting and subtle movie with strange humor that is rarely found.

Pigeon is made in the same style as You, the Living. Again we have plenty of short scenes, shot from one angle, with no cuts. Filled with absurdity, no actual plot, various way of interpretation. Too deep or too obvious, Andersson bounces between two extremes. The characters and the scenes are overdrawn. Everything happens in one, slow pace. Silence is boring and dulling the vigilance. In comparison, You, the Living seemed more... lively.

If Andersson shows Swedish society, I felt the criticism towards it in one scene, mocking it in the second and a direct reference to it in the third. The critique is present in a scene with elderly elegant Swedes observing the cruelty, done by non-Sweden. For me this is a reflection on Swedish neutrality in the 20th century. Mocking the Swedish society appears in the last scene. Bunch of people is waiting at the bus stop and one of the men starts to ask if today it's really Wednesday, cause for him it felt like Thursday. The group assures him that yes indeed, it's Wednesday. Additionally, the other man explains, that we all have to agree that it's Wednesday, otherwise there's gonna be chaos. Of course the first man did not imply that we wished it's another day of the week or that he is still gonna pretend it's not Wednesday. It did not hinder the other man to make sure that everything is clear - even if you feel like something else, you have to agree with everyone else in order to keep peace and organization. It might be exaggerated reference to Jantelagen (no one is special, no one should act like they are superior to one another). It is established that it's Wednesday, everyone has to adjust.

And then it's my favourite scene with Charles XII. He, as a Swedish king, should be a clear indicator that Andersson tells something about Sweden. Okay, we have a king with absolute power, everyone serves him even if he has the most ridiculous demands. But... this could be any monarch, right? So for me by using him, the director was more about praising the modernization, understood both as moving from kingdoms to democracy and as equalization of the societies. Choosing Charles XII could simply just give Andersson space to mock king's homosexual needs, which was directly shown. Despite different possible interpretations, I admire Andersson for the technical management of this scene. It's the longest one in the movie and the most complicated. So many elements could go wrong and in the end there is this final version with no cut. Standing ovation.

What if we look at Pigeon not as a portrait of Swedish life, but a life itself? All the feelings are phlegmatic. Even love, even anger, even laughter. Is the life so unfair or do we make it this way ourselves? I think that Swedish societ" is just a frame. Andersson is using some obvious cliches and stereotypes (which still can be true!) about his motherland in order to explain something more, something common to all human beings. Or I'm just trying to find deeper meaning which really isn't there. If so, this is just another proof of this director's strength - his movies can be seen through so many shades of interpretation.

well, you see this is a conflict, conflict about being an ordinary man. and after all being an ordinary man takes you there in which all other people are dealing with just "being". Roy Andersson took care of that approach and made a pretty remarkable movie about "being". Ordinary men try to figure things out, ordinary men try to make friends, earn money, make some jokes, and live on. Joyful moments, sad moments, some bad news and some good news, some misunderstandings and so forth. Actually, the characters show the great determination to continue, a-must-see movie when you are having some existential trouble and something to hold on. Ordinary men have a great solution. Because they don't need to be happy all the time, they don't need to be sad all the time. A smooth way to mix the emotions and keep the balance.