The New York Times by A.O. Scott

The film is slow, rigorously morose and often painful in its blunt reckoning of disappointment and failure. It is also extremely funny.

Chicago Sun-Times by Roger Ebert

There’s joy in watching a movie like You, the Living. It is flawless in what it does, and we have no idea what that is. It’s in sympathy with its characters. It shares their sorrow, and yet is amused that each thinks his suffering is unique.

Slant Magazine by Nick Schager

Humor and sorrow are equally immediate emotions throughout, whether in the writer-director's traditionally structured setup-punchline scenes or his strange non sequiturs

New York Post by V.A. Musetto

Andersson has a one-of-a-kind style that not all viewers will appreciate. His humor is not at all like Hollywood’s. His is leisurely and cerebral — two words never heard in La La Land.

LarsenOnFilm by Josh Larsen

Perhaps my preference is best explained this way: I’d rather live in the world of You, the Living. Songs from the Second Floor is the one I’d rather watch.

Empire by David Parkinson

Recalling the work of Jacques Tati, this is a grim but amusing and ultimately successful effort.

Village Voice by Nick Pinkerton

You, the Living flips through 50-some single-panel vignettes, many very funny.

The Guardian by Peter Bradshaw

You, the Living is a very funny film - though in the darkest possible way. It is a silent comedy, but with words.

Time Out London by Dave Calhoun

You won’t know whether to laugh or cry.

Total Film by Staff [Not Credited]

Andersson’s movie reveals poetic ironies, surreal slapstick and melancholy truths, often all wrapped up together.

Los Angeles Times by Kevin Thomas

You, the Living suggests that we would do well to discover the joy we find in each other that so often goes along with the pain.

L.A. Weekly

Andersson particularly delights in left-outs: the guy who can’t squeeze into the bus stop during a downpour; the natty little suitor getting his bouquet smashed in a slamming door. The sum total is the reflection of a worldview -- sad sack, bordering on “Everybody Hurts” black-velvet sad-clown bathos -- rather than any narrative.

The A.V. Club by Scott Tobias

You, The Living, if only by virtue of a more intimate scale than Songs, benefits from a lightness of touch and even a thin sliver of optimism in some sequences.

Time Out by Keith Uhlich

The ideologies underlying Andersson’s oft-astonishing succession of extreme wide-angle, vanishing-point tableaux are a decidedly acquired taste.