songs from the second floor sacrifice

In a sour, gray city, filled with pale drunken salarymen and parading flagellants, everything goes wrong, pain is laughed at, businesses fail, traffic seizes up and a girl is made into a human sacrifice to save a corporation. The turn of the millennium brought no shortage of apocalyptic visions, fueled by the common anxiety that the 21st century put humanity on borrowed time, portending an era's end more than a new beginning. Carlsson (Lennart), Rolando Núñez (The foreigner), Sture Olsson (Sven); Runtime: 98; MPAA Rating: NR; producer: Lisa Alwert; New Yorker Video; 2000-Sweden/France, in Swedish with English subtitles). In a sour, gray city, filled with pale drunken salarymen and parading flagellants, everything goes wrong, pain is laughed at, businesses fail, traffic seizes up and a girl is made into a human sacrifice to save a corporation.

It presents a series of disconnected vignettes that together interrogate aspects of modern life. We don’t do comments anymore, but you may contact us here or find us on Twitter or Facebook. Kurdt Attempts To March Around The World 2015 Challenge #5 - Sweden A man burns down his own company, everyone in town is driving towards the same destination, a building apparently moves all by itself, the dead are walking the earth - that's the kind of shit going on in Songs From The Second Floor. A man is fired and clings to the leg of his boss, who marches down a corridor dragging him behind. And to top it of it's from Sweden, which is probably what makes this a … He’s despondent and still walks around with his face covered in soot, as he meets his younger struggling son Stefan in an empty restaurant. This cinematography effectively isolates the film’s hapless characters, enclosing them in the expansive, colorless surroundings and observing them with a remote, seemingly pitiless gaze. The turn of the millennium brought no shortage of apocalyptic visions, fueled by the common anxiety that the 21st century put humanity on borrowed time, portending an era's end more than a new beginning.

Millennial anxiety may be out of fashion, but Roy Andersson’s hilariously disconcerting Songs from the Second Floor presents a vision of the year 2000 that avoids both paranoia and cliché. The movie argues that in an economic collapse our modern civilization would fall from us and we would be left wandering our cities like the plague victims of old, seeking relief in drunkenness, superstition, sacrifice, sex and self-mockery. The main men all have goals but their destinations change during the story. The film can be best judged in how provoked the viewer was by it as a genuine oddity. Perhaps the sacrifice of her life will placate the gods who are angry with the corporation.

"[citation needed] Roger Ebert of Chicago Sun-Times gave the film four stars out of four and wrote, "You may not enjoy it but you will not forget it. "[5], A Pigeon Sat on a Branch Reflecting on Existence, Brothers Manaki International Film Festival, "The New Cult Canon: Songs From The Second Floor", "Festival de Cannes: Songs from the Second Floor", https://en.wikipedia.org/w/index.php?title=Songs_from_the_Second_Floor&oldid=974801504, Films whose director won the Best Director Guldbagge Award, Articles containing Swedish-language text, Articles with unsourced statements from October 2015, Creative Commons Attribution-ShareAlike License, Best Non-American Film (Bedste ikke amerikanske film) Roy Andersson (director), Norwegian Film Critics Award Roy Andersson, Best Direction (Bästa regi) Roy Andersson, Best Screenplay (Bästa manuskript) Roy Andersson, Best Cinematography (Bästa foto) István Borbás and Jesper Klevenas, Best Achievement (Bästa prestation) Jan Alvemark, Best Foreign Independent Film - Foreign Language, This page was last edited on 25 August 2020, at 03:09. Predictably, audiences did not flock to it. the salesman bitterly complains.)

SONGS FROM THE SECOND FLOOR (Sånger Från Andra Våningen) (director/writer/editor: Roy Andersson; cinematographers: Istvan Borbas/Jesper Klevenas; music: Benny Andersson; cast: Lars Nordh (Kalle), Stefan Larsson (Stefan), Torbjorn Fahlstrom (Pelle), Sten Andersson (Lasse), Lucio Vucino (Magician), Hanna Eriksson (Mia), Peter Roth (Tomas), Bengt C.W. Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013.

When I screened it at my 2001 Overlooked Film Festival, there were times when the audience laughed out loud, times when it squinted in dismay, times when it watched in disbelief. Gang of Three: A Conversation with Godfrey Cheshire, Matt Zoller Seitz, and Armond White, AMC's Soulmates Owes Too Much to Black Mirror, NYFF 2020: Night of the Kings, Atarrabi and Mikelats, The Salt of Tears, An Open Letter to Cuties Director Maïmouna Doucouré from Female Filmmakers. The most striking is a visit by uniformed soldiers to a former army general they served under, who is celebrating his 100th birthday in a luxury nursery home. A man burns down his own store and then assures insurance inspectors it was arson, but as they talk we lose interest because outside on the street a parade of flagellants marches past, whipping themselves in time to their march. Where are we humans going? A man with the wrong accent is attacked by a gang. Songs from the Second Floor (Swedish: Sånger från andra våningen) is a Swedish black comedy-drama film which was released to cinemas in Sweden on 6 October 2000, written and directed by Roy Andersson.It presents a series of disconnected vignettes that together interrogate aspects of modern life. The film uses many quotations from the work of the Peruvian poet César Vallejo as a recurring motif. Yes, and tragic Groucho Marx. Songs from the Second Floor (Swedish: Sånger från andra våningen) is a Swedish black comedy-drama film which was released to cinemas in Sweden on 6 October 2000,[2] written and directed by Roy Andersson. Longtime director of television commercials, the 59-year-old Swedish director Roy Andersson, creates a surrealist black humor farce that consists of a number of unrelated sketches that revolve around the upcoming new millennium and the potential for the Y2K bug, casting a spell of physical and mental breakdowns on the urban inhabitants involved by pointing out how the world is both absurd and a difficult place to be human. The musical honors are provided by Benny Andersson of Abba. Or as the film’s symbolism has it, we are not speeding towards the edge of a cliff, but rather stuck in interminable gridlock. We meet people in the city. It is "slapstick Ingmar Bergman," says J. Hoberman in the Village Voice. If You're Happy President Trump Tested Positive for COVID-19, You're Just as Bad as He Is, Black Man Who Spoke in Support of Police Fatally Shot by Texas Police Officer, Cuisinart 11-Piece Tri-Ply Copper Cookware Set, So, Who Else Thinks the White House Is Totally Pulling a, We sing the praises of 17 musical moments from non-musical movies, I Took A 250,000-Mile Minivan Through Germany's Rigorous Car Inspection And It Was A Disaster. Understandably, it did not immediately find a distributor. I love this film because it is completely new, starting from a place no other film has started from, proceeding implacably to demonstrate the logic of its despair, arriving at a place of no hope. The film opens ironically with a man in a tanning machine--ironic, because all of the other characters will look like they've spent years in sunless caves. T he appropriate word for Roy Andersson's new film, Songs From the Second Floor, is "apocalyptic". He is planting his camera here and there in a city that has simply stopped working, has broken down and is cannibalizing itself. With merciless economy, the latter gag slays two venerable institutions, capitalism and religion, in one swift blow: Not only have religious icons been commodified, Andersson implies, but they're not worth a dime on the open market. Traffic jams and self-flagellating stock brokers are filling up the streets while an economist, desperate for a solution to the problem of work becoming too expensive, gazes into the crystal ball of a scryer. Millennial anxiety may be out of fashion, but Roy Andersson’s hilariously disconcerting Songs from the Second Floor presents a vision of the year 2000 that avoids both paranoia and cliché. A man is standing in a subway car, his face dirty with soot. 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. Noted mainly for his innovative commercials, Andersson shoots in static, deep-focus compositions that owe more to painting than cinema, with some shots so obsessively detailed that they took several days just to set up. He is screaming: "I've been here for thirty years!" Not Coming to a Theater Near You is a film resource that assumes a bias towards older, often unpopular, and sometimes unknown films that merit a second look.

It's funny because it stands back and films its scenes in long shot, the camera not moving, so that we can distance ourselves from the action--and we remember the old rule from the silent days: comedy in long shot, tragedy in closeup. Afterward they sourly meet at the Grand Hotel content to tell themselves they did everything they could to save the world, even offering a ritualistic sacrifice of the younger generation. The main character is a portly, elderly, tired furniture showroom owner Kalle (Lars Nordh), who has snapped without cause and burned down his business to collect the insurance money. Though I didn’t find it a masterpiece, I was more than delighted with its comical pronouncements and its overall effect. Read more about us or Get in touch. Roy Andersson's "Songs From the Second Floor" is a collision at the intersection of farce and tragedy--the apocalypse as a joke on us. When a speech is delivered the senile general gives his best wishes to Hermann Göring and offers a Nazi salute. In 1975, he won the Pulitzer Prize for distinguished criticism. One rummages for the names of artists to evoke: Bosch, Tati, Kafka, Beckett, Dali. The song accompanying the sacrifice on the] first [Sabbath,] sung on the fourth of the first month. It’s a stylishly shot studio film presented with long takes, lots of blue, grey and dull green tints in its photography to give the film a despairing look and is shot with a basically inactive camera. When two of the actors came out onstage afterward, it was somehow completely appropriate that one of them never said a word. There is a traffic jam, which snakes through the film without explanation; the oppressive waiting room of a bus station; a massive airport in which travelers labor to move their massive cartloads of luggage and golf-clubs only a few yards; and a train station where figures from the past rise from the dead to torment the living. Watched Oct 11, 2016. tarrdigrade’s review published on Letterboxd: Dark absurd existentialist humor, now that's a genre tag that's gonna catch my attention every time. Consider the scene where clerics and businessmen, all robed for their offices, gather in a desolate landscape as a young woman walks the plank to her death below. "[4], On review aggregator Rotten Tomatoes, the film received an 89% approval rating, based on 35 reviews, with an average rating of 7.5/10.

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