Sobre a Eternidade

Yes. We know Anderson and his style by heart. Yes, we love him with all our heart!

But... I was a bit de-mystified by the fact that in this (potentially very meta-physical) story-composition there was MANY TIMES a voice over telling us what we just saw on our own. Chances are I truly missed the point of this, but after few minutes I felt truly annoyed by it... "yes I see myself a man with a problem that is xy" I thought many times. Was this the point?

Overall, apart from the seemingly unnecessary narrator, some of the scenes were "too light" for my taste, but I guess taste is just taste. Young people, dancing in sunlight; young people staring at each other. More profanity without the dark, underlying melancholy. Most of his other scenes in older movies feature also way more "mystical" (unexplained/riddled) situations, might they be more absurd, more surreal, more melancholic, more dramatic. Many scenes in this film felt quite "un-dramatic"... but again, maybe this was his point, finally giving us more light, more normal situations, more insight into happiness?

Apart from this point ( that I maybe didn't get): loved the absurdity, some of the actors, most of the sets (splendid as ALWAYS), the groteque, the paintinglike style, the "Andersonesque" techniques to tell a story.

Maybe one of you "unlocked" the solution to this film's mystery?

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.

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

This movie is a thrill, trust me. I really wanted to watch this one because i loved its look and how unique and gloomy it is. The storyline seemed also really promising, something about human connection and our desire to understand life and explain its power and darkness and infinite but absurd beauty always gets. It is what makes "Synedoche, New York" or "Eternal Sunshine of the Spotless Mind" so great. They are sad, but lead to a greater realisation about humanity or left things and questions to digest. I personally expected something of the same feel, but what I got was... a comedy? Now, now wait a minute.

This film is one of the most funny films of the year and what is so striking is that it magages to poke fun at people and situations but at the same time it is so consistent in its sad tone and it feels so clear and to the point. Its flow is unbeatable. Yes, its basically a series of short stories, two of which are exlored more. Some moments are everyday simple moments that we give zero attention, but they are presented i nsuch a poignant way that we see how we sometime miss the overall beauty of simplicity and nothingness, bercause we have the idea that the big moments matter and are of great importance and we are often so blinded by our sadness and everyday issues that we don't allow ourselves to take a step back, look afar and see that everytihng hides a beauty, from a historical moment ,like war images, to a walk to school.

Personally, I feel like I've missed so many good moments becauseI was stuck in small problems and rubbish and I forget that a conversation or a kind gesture might be what we need to feel so that we can deal with our sad and torubled lives. Maybe looking from afar at anything and stopping to try to deal with every single thing we feel or suffer from, can lead to a small taste of salvation.

The film talks about faith, religion, bureaucracy,politics, existence, identity, the desire to feel and love and experience and find importance in true beauty and search for a way to feel complete, but its tone is sad and funny and I really loved her voice as the narrator.

The sad blues, the stylish browns, the dark reds and finally the hopeful yellows create a brand new world so distinct but so familiar to ours. The consistency in the framing and presentation, the delicate and socially and politically active script with tons of funny and satirical dialogue and coscepts and the truly entertaining storytelling, lead the viewer to a significant, enlightening and kind of cathartic and profound experience about the human struggle and joy.I don't want to analyse or dig any short story up. Just definatley watch this one and experience it.

It's like the most fullfilling and beautiful poem cmae to life to tell its story in the most interesting and hillarious of ways.

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.