ROY ANDERSSON’S A PIGEON SAT ON A BRANCH RELFECTING ON EXISTENCE — A REVIEW BY NICK CLEMENT

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The absurdist and thought provoking black comedy A Pigeon Sat On A Branch Reflecting On Existence is going to prove to be an endurance test for some viewers. I’m not gonna lie – people are gonna either turn this off within a matter of 10 minutes, or, fall totally under its beguiling spell. And my guess is that the filmmaker’s would be beyond happy with this fact. It’s literally 100 minutes of wide static shots, no real plot to speak of, highly artistic in a very private manner, eschewing any sense of the traditional, all in an effort to communicate an existential and experiential study of human beings and the banalities of life. I found it to be hysterical, cynical and progressive at the same time, endlessly interesting on a formal level, and all together bewildering by the conclusion. Swedish director Roy Andersson crafted a thematically linked trilogy of movies about the simplicity (both ugly and beautiful) of life, with Pigeon acting as the concluding chapter (the previous two efforts, Songs from the Second Floor and You, The Living, are unseen by me), and I can honestly say that there’s nothing else I can think of that truly feels like this movie.

There are elements of it that reminded me a tad of the French curiosity Lil ‘Quinquin, but Pigeon is truly its own thing, offering a series of vignettes featuring a rotating cast of characters in increasingly bizarre and surreal situations, learning hard but true lessons about life, while the beyond patient camera stares unflinchingly (and with zero judgement) at its subjects with almost cruel and unnerving intensity. The stuff involving the world’s most humorless salesmen selling joke and novelty items is a stroke of genius, and the last act involves some highly arresting (both visually and narratively) sequences that sort of just need to be seen to be believed (the human cauldron is something I’ll not soon forget). This isn’t a thriller or anything salacious, but because of the fixed compositions, lack of mickey-mousing with the music, and the unfamiliar actors, one gets the sense that anything is possible within the world of this strange film. I’m doing a poor job of explaining the content of this movie; watch the trailer and you’ll know rather quickly if this movie will be up your cinematic alley. It’s available as a streaming option via Netflix, and I would presume that there are other ways of finding this offbeat and totally original piece of work.

 

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