Roy Andersson, who won the Silver Lion for Best Director at Venice with this film, spent years making commercials to fund his own work and builds his sets by hand in a Stockholm studio. Every scene is held in a single, unmoving shot, and every one is bittersweet and funnier than it first looks.
A woman’s voice narrates, moving from one situation to the next. She tells of a priest who has lost his faith but goes on saying Mass, and of two lovers hovering over the ruins of a city. Then there’s a man who stops in the middle of the street because he can’t remember why he left the house.
Venice Film Festival
Best Director
2019
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