On the infinite (2019), by Roy Andersson – Criticism

It allows us to observe how to laboratory mice, the behaviors and conditions of real and enhanced people precisely because of that peculiar way of shaping them in their own universe, pictorial and more real in their representation than life itself.

R. Andersson and I. Bergman, do not contradict each other but they may touch at some point difficult to describe and locate, two so radically different ways of observing the human condition, nor are they created, nor are they destroyed, they remain because they are transformed and not it is possible to stay with your first look, or with your fifteenth viewing, of each occasion that we prostrate ourselves before a screen to adore your projections, we extract new nectars and better experiences, even to them it must happen like this, because when you build a speech , he is not aware of everything he says expressly or without saying it, he ends up saying, tells or wields, only the most immediate and perhaps something else, but he always escapes, even to the author, a multitude of things that without being said, are written On the infinite, in his cinematography.

If on Carson MacCullers and William Faulkner there are those who prefer to keep the first because being as good a literary as the other, it is much more transparent, in this case, there is also the option to prefer Andersson but I do not see why you have to choose a front to another; Andersson would be here because it makes you laugh, in front of Bergman who easily takes you to tears and bitterness, but personally both of them are an unparalleled cinematic and vital pleasure, so I keep both.

Go forward with false simplicity, through a catalog of short stories, worth representing as few, what we are.

Andersson's training as a publicist, can be seen staining each picture of this exhibition of human misery, with a light between mortecina and real, because its lightness is the condition that draws the real colors of life, so much as to resemble authentic canvases where certain and forceful characters run pathetic and hilarious despite their short duration and so vehemently in their stubborn humanity, as to awaken in our position as observers, human compassion and the deepest benevolence in recognizing and recognizing ourselves in them.

In 2001, Eric Rohmer directed The Englishwoman and the Duke (L’Anglaise et le Duc), interpreted on painted backgrounds and decorations that despite not having the glory it deserves, was awarded for its production design, as it should be On the infinite, because in both, light and texture are the main character, the protagonist who, as it happens, wraps with a veil of humanity, allowing us to observe how to laboratory mice, the behaviors and conditions of real people and enhanced precisely by that peculiar way of conform them in their own universe, pictorial and more real in their representation than life itself; They are human, yes and it is their humanity that removes our armchair and helps us to better understand that vital current, humanize you and humiliating also that we are all dragged in front of a free will that does not seem to appear or exist within those paroxysmal and stunned paintings in which the human condition is represented to us, as something accessible, ridiculous, cruel and scathing, without falling into determinism or the feeling of defeat, but advancing with false simplicity, through a catalog of short stories, worthy of representing as few, what that we are, who we are and how the differences between one and the other, not only are not marked and clear, but are part of a coincidence, essential to how much human being inhabits the film and life itself.


Synopsis The film seeks to be a juxtaposition of the different stages that a human being goes through in life.
country Sweden
Address Roy Andersson
Script Roy Andersson
Photography Gergely Pálos
Distribution Martin Serner, Jessica Louthander, Tatiana Delaunay, Anders Hellström, Jan-Eje Ferling, Thore Flygel, Stefan Karlsson, Bengt Bergius, Marie Burman, Amanda Davies, Karin Engman, Lotta Forsberg, Göran Holm, Lars Lundgren
Gender Drama
Duration 76 min.
Original title Om det oändliga
Premiere 01/24/2020

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