Roy Andersson is definitely one of my favourite directors at the moment, he’s such a confidently established auteur within his unique craft. Having a distinct style is such a beautiful thing for directors, it’s something I value very highly which is why I love filmmakers like Paul Thomas Anderson, Jean-Pierre Melville and Piotr Szulkin, it gives the medium of cinema a refreshing reminder that anything is possible.
Andersson’s distinct approach to cinema really shines in this one, Songs From the Second Floor is the start to Andersson’s existential trilogy, the Living Trilogy, and it definitely sets the tone for his later works. The absurd surrealism and profound nature of this film is wonderfully striking, portraying a powerful message of life’s exhaustion, guilt within life and just the sheer stupidity of life itself. The film perfectly reflects these themes within the cinematography, the painting-like static shots are so bleak but so perfectly executed; I always find my eyes investigating the entire frame, wanting to notice every single clever detail and just letting the beauty of Andersson’s work wash over me. All the scenes are drowned in a washed out grey palette, everything and everyone is lifeless and awkward, stripped of all vitality. While everything seems extremely unpleasant and depressing this film isn’t fully serious, there are many comedic elements that maybe aren’t meant to be happy-funny but more just oddly-funny, you can tell Andersson has a sense of humour even if it is intensely deadpan.
Writing about Andersson’s work is always very easy and enjoyable, everything seems to fall into place perfectly, it’s very satisfying and I love it. I don’t know why it’s so nice but it is, probably because they’re good films.
Roy Andersson is definitely one of my favourite directors at the moment, he’s such a confidently established auteur within his unique craft. Having a distinct style is such a beautiful thing for directors, it’s something I value very highly which is why I love filmmakers like Paul Thomas Anderson, Jean-Pierre Melville and Piotr Szulkin, it gives the medium of cinema a refreshing reminder that anything is possible.
Andersson’s distinct approach to cinema really shines in this one, Songs From the Second Floor is the start to Andersson’s existential trilogy, the Living Trilogy, and it definitely sets the tone for his later works. The absurd surrealism and profound nature of this film is wonderfully striking, portraying a powerful message of life’s exhaustion, guilt within life and just the sheer stupidity of life itself. The film perfectly reflects these themes within the cinematography, the painting-like static shots are so bleak but so perfectly executed; I always find my eyes investigating the entire frame, wanting to notice every single clever detail and just letting the beauty of Andersson’s work wash over me. All the scenes are drowned in a washed out grey palette, everything and everyone is lifeless and awkward, stripped of all vitality. While everything seems extremely unpleasant and depressing this film isn’t fully serious, there are many comedic elements that maybe aren’t meant to be happy-funny but more just oddly-funny, you can tell Andersson has a sense of humour even if it is intensely deadpan.
Writing about Andersson’s work is always very easy and enjoyable, everything seems to fall into place perfectly, it’s very satisfying and I love it. I don’t know why it’s so nice but it is, probably because they’re good films.
