To even try and explain a Roy Andersson movie is a mission in itself; his signature absurdist and surreal style is often laced with dark comedy, providing an introspective view into humanity. A Pigeon Sat on a Branch and Reflected on Existence is the third instalment from Andersson’s Living Trilogy – films about “being a human being” – following suit with his previous features Songs From The Second Floor and You, The Living.
Like the first two films in the trilogy, A Pigeon is made up of dozens of comic sketches that play out box-like sets. The cast are non-professionals, the screen filled with a creamy, dreamlike palate. There is almost a cohesive storyline here (emphasis on the almost) as we follow Jonathan (Holger Andersson) and Sam (Nils Westblom), a pair of practical joke salesmen who unsuccessfully try to sell their stock. As they try to find a market for vampire teeth, laughing bags, and a hideous mask called Uncle One-Tooth, they reveal that “We just want to help people have fun”.
Despite having one of the most consistent storylines in the film, Jonathan and Sam aren’t seen in most of the scenes. At one point, we’re treated to a scene in a grotty bar where King Charles XII of Sweden who stops by for a glass of water. At another point in the film, a deaf man takes a shot of vodka; soon, we flash back to 1943 where patrons in the bar sing hymns and pay for their drinks with kisses. If you’re finding this hard to follow, don’t worry – you’re not the only one.
Despite appearing unorganised and nonsensical, Roy Andersson does not simply place scenes in this film to fill time. Each scene contributes to what meaning Andersson is trying to convey – life is traumatic. In a discussion with the films cinematographer Gergely Pálos post screening, he states that “humans are destructive and need to be reminded of this”. And that we are. As we view each scenes interaction with death, the nature of humankind seems to become more and more perverse. Though the film creates the illusion of a dreamlike state through unique settings and colour palates, what we are presented with is anything but a dream.
A particularly confronting scene depicts colonials forcing Africans into a huge cylinder, that is soon set alight with the Africans being burnt alive. It’s horrifically confronting; we can hear babies crying and people banging on the walls of the cylinder, desperate to escape. Pálos explains this scene, explaining that the cylinder represents a Swedish mining company (whose name escapes me) whose waste leaked into the ocean, making thousands of people sick, even dead. Even more, the company refused to take responsibility for the horrific accident. Pálos highlighted that this is just one form of oppression in today’s world.
Roy Andersson has created yet another masterpiece within A Pigeon Sat on a Branch and Reflected on Existence. The cinematography is perfect, almost like a painting. The use of colours and lighting successfully accentuate the films bizzare and abstract nature, creating a dream-like state that coincides effectively with the narrative and the themes that are elicited. If you haven’t been acquainted with any of Andersson’s work (an issue that you should rectify immediately) then prepare yourself for a film unlike any other. Maybe have a cup of coffee (or five) beforehand, as this is one that you need to concentrate in in order to fully appreciate the content. That being said, if you aren’t a coffee fan or simply want an easy watch, A Pigeon will gladly oblige. It is a hauntingly hilarious depiction of how fucked up mankind can be, and provides this in the most aesthetically pleasing of lights.
Review Score: FIVE STARS (OUT OF FIVE)
Running Time: 100 minutes
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