Movies are back. Roy Andersson’s latest film, About Endlessness (Om det oandliga), finally opens in the U.S. after a long COVID-lockdown delay, and it gives every reason — touches every emotion we ...
The Times is committed to reviewing theatrical film releases during the COVID-19 pandemic. Because moviegoing carries risks during this time, we remind readers to follow health and safety guidelines ...
About Endlessness opens with the visual of a couple (Jan-Eje Ferling and Tatiana Delaunay) floating through gray, cloudy skies. About Endlessness is a fitting title for a movie about the futility of ...
Short, bittersweet and exquisitely imagined, Roy Andersson's latest compilation of mordant existential sketches finds him on familiar turf, and that's fine. Whether by accident or design, it is most ...
Exclusive: The "Songs from the Second Floor" director's latest opens in theaters and on VOD stateside in April. The latest film from the revered and much-decorated director of “A Pigeon Sat on a ...
In one of the many delightful, awful, absurd and not obviously interrelated vignettes that make up Roy Andersson’s “About Endlessness,” a young couple of college age sit in a sparely appointed room, ...
Lost souls and lonely hearts populate Roy Andersson’s deliciously odd follow-up to A Pigeon Sat on a Branch Reflecting on Existence ‘I saw a man who had lost his way,” says the narrator of Roy ...
A man sits alone at a table, in a restaurant, reading a newspaper. Beside him is a white-jacketed waiter, holding a bottle of red wine. The man tastes a little of the wine and nods. The waiter starts ...
Swedish director Roy Andersson’s 'About Endlessness,' an examination of ordinary human existence, includes a reflection on whether the infinite exists. By Deborah Young If A Pigeon Sat on a Branch ...
About Endlessness is a fitting title for a movie about the futility of the human condition, but happily, the movie itself is anything but a slog. For one thing, it's only 76 minutes long. And in every ...
Short, bittersweet and exquisitely imagined, Roy Andersson's latest compilation of mordant existential sketches finds him on familiar turf, and that's fine. Whether by accident or design, it is most ...
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