TALK WITH ROY ANDERSSON
Roy Andersson (Sweden, 1943) has known how to build a unique, unmistakable style that situates him as one of the most powerful and personal voices in world cinema. He has become one of the sharpest commentators of our time thanks to a body of films that have known how to gloss with the blackest humour the absurdity and desperation of existent, the absurdity of our customs and ways of life, the intransigence of time and the monstrosity of capitalism, but also the little everyday epiphanies. His career began with the great success of A Swedish Love Story (1970), which won four awards at Berlin. After Giliap, a film ahead of its time, there was a parenthesis in which he directed over 400 commercials, slowly chiselling a style what would open in World of Glory, flourishing in all its splendour in his “trilogy on existence”, the last piece of which, A Pigeon Sat on a Branch Reflecting on Existence, won the Golden Lion at Venice in 2014. But his cinema goes beyond the awards to be inscribed in the history of cinema with its distinctive tableaux into which he looks with sarcasm and pitilessly breaks up the world.