A Pigeon Sat on a Branch Reflecting on Existence is the third film in a trilogy from Swedish director Roy Andersson. It follows his previous instalments Songs from the Second Floor (2000) and You, The Living (2007). As with many Scandinavian films, Pigeon has a limited colour palette, which is very dull in tone and is peppered with somewhat surreal black humour. It is an existentialist questioning of life and humanity of sorts.
A Pigeon Sat on a Branch is a series of vignettes, short stories, some interrelated, which meld together to form the larger film. The main series of shorts involve two rather hopeless middle-aged salesmen (Holger Andersson as Jonathan and Nils Westblom as Sam). Their wares are novelty items such as fake vampire fangs, rubber masks, and laugh bags. They tell potential customers that they are in the entertainment business, that they want people to have fun. Other tales involve an 18th Century king who is en route to battle the Russians, stopping into a modern café to recruit new soldiers. The king appears unfazed by his surroundings as his guards arrange water for him and speak on his behalf.
The film is very beautiful visually. There is an unusual camera and staging technique, in that the film is entirely constructed of set pieces. There are no close ups, no zooming or panning. In this sense the film operates in a fashion like that of a stage play. The bland tones of the film are initially strange, but as the film wears on they become endearing, almost comforting in a sense.
However there is another shift, as the slow pace and bleak tones become frustrating. While ambiguity is one of the key parts to the art film, this is a little too much. In some places the film is too dark and the existentialism becomes quite heavy handed. Many of the characters are simply too sad, and the film appears to be a commentary on their preoccupation with themselves which keeps them from shirking their woes. While there are quirks and comedy earlier on, there is a downward turn in the mood and there is little sense of optimism felt in departing the cinema at the conclusion of this film.
Having not seen the other films in this trilogy, it is difficult to comment on the point and message of A Pigeon Sat on a Branch Reflecting on Existence. It’s hard to understand the context without the other pieces of the puzzle. All three films will be screening at ACMI; it is fair to say that this film is for those well versed in art film, or for those to whom the ambiguity appeals.
A Pigeon Sat on a Branch Reflecting on Existence is screening at ACMI from 26th October to 15th November through Madman Films.
