From the appearance of the title of "A Pigeon Sat on a Branch Reflecting on Existence" to the meaningful smiles of the protagonists at the end, this absurd comedy master from Sweden showed a unique visual style. Anderson used a dove's statement to reflect the human condition-it leaned comfortably on a tree branch in this way, away from the suffering of birth, old age, sickness and death, debt crisis, and impossibility of courtship.
"A Pigeon Sat on a Branch Reflecting on Existence" is the most easily understood part of the "Trilogy of Life". Sam and Jonathan are like modern Don Quixote and Sancho Pansa, these two mobile shop assistants selling weird and weird commodities, lead us on a bizarre journey about the fate of mankind. These two characters are like Laurel. And Hardy (an early American drama program, also referring to the two comedians Stan Lawley and Oliver Hardy on the show), appeared in pairs in nearly one-third of the space, and completed the film with 37 cameras. Shooting. Almost every fragment of the film is an independent comedy sketch, similar to the comics "Looking for Ward" and the photography works of Gregory Chadson (American artist). The best way for the audience to get to know them is to imagine that you are watching a large oil painting or a Jacques Tati movie: observing faces, studying details, seeing with eyes, and feeling with your heart. Other directors are keen to find unique moments, and Anderson always wants to compose mundane poems.
Anderson used a high-definition digital camera in this film, which greatly improved the visual quality of the film. In every scene of the film, even the distant background is very clear. Although the tone of the film is dull and the characters are numb, the whole film is not boring. Anderson is like a painter, using rich content to set off the character's loneliness. The corner of the room he photographed always allows us to observe everything here through the adjacent room or window instead of going straight in. He, like the American director Wes Anderson, insists on visual details first. ()
The film tells about philosophy, human existence, hypocrisy, loneliness, cruelty, etc. Although there is no traditional narrative and dramatic effect, the heavy themes do not flow into stereotypes and dullness. The surreal black humor endows the film with a light-weight temperament, and appreciates the life and death and the mixed flavors of life in laughter. Roy Anderson claims to be deeply influenced by his paintings. The beautiful paintings in his new works are as beautiful as oil paintings, permeating the cold and hard temperament of Northern Europe, inheriting the director’s consistent aesthetic style. Each shot is like the same frame of activity painting, which brings the audience to the audience. The visual feast. ()
Through the traveling experience of two traveling salesmen, the film shows us their understanding of human nature while selling novel items. Along the way, they saw the beauty and ugliness, good and evil of human nature; they saw tragedy and comedy. Life is magnificent, but also fragile. The whole movie has no linear narrative and consists of 39 scenes. The camera follows in the footsteps of Sam and Jonathan, a pair of mobile businessmen who sell funny toys, and accompanies them to door-to-door sales of goods, like a tour guide leading the audience in different places and different groups of people. The film inherits the director's consistent directing style, poetic, gloomy, black humor and full of philosophical speculation. ()
The uniqueness of the film's sense of form is the most intuitive, and it is also the most effective way to make the film stand out. On the one hand, the foreignness of the story will broaden the boundaries of conceptual cognition, but on the other hand, it will not be truly recognized due to lack of universality. It is precisely the form that becomes a more universal world language. In the past, trying to narrative structure diversity became a trend, but now playing with montage and editing techniques has become infamous. The film truly returns to the clearest essence, the combination of form and theme. This is exactly where Roy Andersson is expected. Those who insist on their own aesthetic creation and artistic authenticity have never been forgotten by people. ()
Fans who have watched Roy Andersson's films will be impressed by this "Bergman student". This representative of post-modern movies likes to create all kinds of reasonable or unreasonable plots, installations, stories, music and performances in movies. "A Pigeon Sat on a Branch Reflecting on Existence" is such a strange film full of various collages and mashups. ()
"A Pigeon Sat on a Branch Reflecting on Existence" is a unique film, bizarre, absurd, cold, humorous, alienated. It is not popular, it is simply difficult to understand, but because of this, it is extremely open and can be interpreted infinitely. Life and death, love, occupation, and war are all the topics of this movie. It is like a plate of olives of various varieties. It is sour, salty and even a little bit awkward to eat in the mouth, but for those who like this taste, There is a calm satisfaction after eating. There are many clues in the film, some are intertwined, some are independent, but none is a traditional structure of starting from the beginning, developing, climaxing, and ending. The film does not have a complete story, so there are no knots, and it ends in a few fragments that are still unrelated. This is probably the whole picture of life in the eyes of this 70-year-old director-weird, stream-of-consciousness, dialectical and at the same time changing, it is also a different kind of beauty. ()
