The Guardian by Peter Bradshaw

Andersson’s films are endlessly rewatchable. To view them is to abolish gravity.

Wall Street Journal by John Anderson

A film like About Endlessness invites comparisons not to other movies, but to other media. The Preludes of Chopin or Debussy, for instance, brilliant flashes that don’t need to go anywhere, but might. Or something like Baudelaire’s “Paris Spleen,” an intriguing whole composed of incongruous poetic fragments.

The Irish Times by Tara Brady

It’s life, both not as we know it, and yet precisely as we experience it.

The Telegraph by Robbie Collin

He remains a master of composition, subtly guiding your eye towards details that reveal the kind of stories we might usually overlook – in life as well as in the cinema itself.

The New York Times by A.O. Scott

Each shot is a kind of sight gag, a visual and philosophical joke with absurdity in the setup and sorrow in the punchline. But this time, more of the jokes are one-liners, in which the premise and the payoff are one and the same.

IndieWire by David Ehrlich

The least funny and most tender movie that Andersson has made since building his own studio with the profits he’d saved from decades of enormously successful commercial work, About Endlessness adopts the same qualities of life itself: it’s both short and infinite.

The Film Stage

Andersson’s sketches feel sketchier—sparser and more suggestive—with every film; About Endlessness hits perhaps a handful of blackly humorous punchlines, and the only irony is cosmic.

The Playlist by Mel Valentin

As usual, Anderson offers a stirring, compelling counter-example to mainstream film, eschewing familiar, conventional character or plot-driven storytelling, mobile camerawork, or traditional editing. Instead, Anderson has deliberately embraced a rigorously minimalist, austere approach: deadpan-inflected, satirical vignettes, one-shot/one-scene camera set-ups, and occasional fade-to-blacks or abrupt cuts to mark the ending of one abstractly connected scene or idea to another, all meticulously planned, filmed, and edited from Anderson’s beloved Stockholm-based soundstage.

The Film Stage by Mark Asch

Andersson’s sketches feel sketchier—sparser and more suggestive—with every film; About Endlessness hits perhaps a handful of blackly humorous punchlines, and the only irony is cosmic.

Variety by Guy Lodge

If we’ve been here before, the immaculate, somehow tender-hearted execution of About Endlessness ensures this is not a complaint.

Screen Daily by Jonathan Romney

Andersson’s consistency may have made him a director for acolytes above all, but they will find this a satisfying and richly resonant lesson in obliqueness and sometimes opacity.

Empire by Nick de Semlyen

Lord knows how it all connects, but there's a strange power in how About Endlessness flows, jumping around the whole spectrum of human experience and the ridiculous places to which our emotions push us. Andersson's pigeon is at flight once more, and cinema is a richer place for it.

The Guardian by Xan Brooks

About Endlessness contains moments of devilish wit, but at heart it is a sad, sweet picture, threaded with themes of estrangement and separation. Andersson isn’t exactly asking us to laugh at or pity these people. Instead, we’re being encouraged to wonder at their predicament – and perhaps relate it to our own.

CineVue by John Bleasdale

Made up of a series of related but not necessarily connected vignettes, each filmed with a static camera, they resemble New Yorker cartoons scripted by Samuel Beckett.

The Hollywood Reporter by Deborah Young

The famous dreamlike lighting and mise-en-scene are always perfect in capturing human foibles. But the offbeat sense of humor that characterized the trilogy is less evident than ever.

The Observer (UK) by Mark Kermode

As is customary, absurdist humour, global history and abject horror sit side by side, all equally weighted and witnessed.