In Swedish film schools, Ingmar Bergman and Roy Andersson are sometimes placed on pedestals in opposite corners, in a kind of replica of the rivalry between the Beatles and the Rolling Stones – you have to choose who you love the most. However, looking at cinematographies, it is concluded that, as with British bands, in essence, they are very similar. And this essence can perhaps be defined, in broad strokes, as an acid look at existence.
Andersson, 77, is one of the greatest geniuses of contemporary cinema. Of Eternity follows the trajectory of its brilliant Trilogy of Life (You, Who Live, Second Floor Songs and A Pigeon Landed …). The structure and language are similar. It is a cinema made of interconnected sketches. Each scene is a painting, immaculately composed, generally somber, in which an ironic and external look on human nature is almost always revealed. The characters, as a general rule, are immensely lonely and confront the smallness of the human condition.
With drifts through the History of Europe, especially Nazism, but focusing on universal contemporaneity, the film both places us in relatively simple (but always subtle and elegant) humorous situations, and shocks us with disconcerting elements. For example, one of the great characters in this film is a priest who made an appointment with the psychologist, for losing faith. It shows how, in an imaginative way, in Andersson, the real and the ethereal occupy the same place.
The debut of Of Eternity is accompanied by the return to the rooms of the Trilogy of Life and a complete retrospective of his work at the Cinemateca.
Watch the movie trailer
Of Eternity > Roy Andersson, with Bengt Bergius, Anja Broms, Marie Burman, 78 min.
The “From Eternity” content: Roy Andersson’s new film is an ironic look at human nature appears first in Vision.