The New York Times by Elvis Mitchell
A heartbreakingly thoughtful minor classic, the work of a genuine and singular artist.
✭ ✭ ✭ ✭ Read critic reviews
Sweden, Norway, Denmark · 2000
1h 38m
Director Roy Andersson
Starring Lars Nordh, Stefan Larsson, Bengt C.W. Carlsson, Torbjörn Fahlström
Genre Drama, Comedy
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Peruvian poet César Vallejo inspired this black-comedy about our need for love, our confusion, our greatness and smallness and, most of all, our vulnerability. It is a story of big lies, abandonment, and our eternal longing for companionship and confirmation throughout the pointlessness that is modern life.
The New York Times by Elvis Mitchell
A heartbreakingly thoughtful minor classic, the work of a genuine and singular artist.
Despite some deadpan, Jacques Tati-like orchestration and occasional sight gags, there's no real pleasure in the game -- Songs From the Second Floor is more absurd than funny.
New York Daily News by Jack Mathews
"Songs" is a delight. It's a visual feast and often hilarious.
Andersson creates a world that's at once surreal and disturbingly familiar; absurd, yet tremendously sad. The haunting score is by ABBA's Benny Andersson.
The Globe and Mail (Toronto) by Liam Lacey
The film is like an Ingmar Bergman movie as realized by Monty Python: It's seriously gloomy about the loss of spirituality in the world, but at the same time rudely, sometimes hilariously, absurd.
A brilliant, absurd collection of vignettes that, in their own idiosyncratic way, sum up the strange horror of life in the new millennium.
Chicago Sun-Times by Roger Ebert
A collision at the intersection of farce and tragedy--the apocalypse as a joke on us.
Though the laughs in Songs From The Second Floor tend to stick in the throat, they're also cathartic and oddly comforting, because the world outside the movie theater is bound to look cheerier than the one on the screen.
The film is depressive, slow, darkly funny, unyielding in its formal rigor, and unsettlingly beautiful. It's obviously not for everyone, but only because not everyone can meet its stare.
A devastating indictment of unbridled greed and materalism, made all the more relevant by the Enron and WorldCom scandals.
Several separate vignettes work together to tell a story about the highs and lows of human nature.
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