![\"\"](\"https:\/\/nordichouse.is\/wp-content\/uploads\/2019\/01\/roya9051.jpg\")
<\/a><\/p>\nHis Living Trilogy of films began in 2000, takes stock of what it means to be a human being. What is human existence? In each Living Trilogy instalment, brief but complete scenes pose questions about awareness, responsibility, and the weight of history in contemporary life. Even Andersson\u2019s most farfetched images, often addressing the exploitative legacies of fascism, Nazism, and ethnic cleansing shared by all in the West, are disturbingly familiar. Over the span of fifteen years, each succeeding film was made in a largely consistent style that strives to close the paradoxical gap between dream and reality. Despite his dense material, Andersson\u2019s touch is light, the occasionally farcical tone sympathetically mordant. Sharply lampooning society\u2019s rules, expectations, and institutions, Andersson reserves his benevolence for flops and lost causes.<\/p>\n
His distinctive art style of long takes, static shots, greyed-out palette and a kind of visual stillness blended with absurd events, is the mark of a unique filmmaker. Andersson has himself spoken about his preference for \u201chyperreality\u201d, filming each set from a single camera position in order to create static vignettes packed with details. It\u2019s an approach naturally informed by his creation of over 400 adverts.<\/p>\n
Despite their distinctive appeal, Roy Andersson\u2019s films are rarely screened in Iceland, which will make a Nordic Film Festival\u2018s showcase of his shorts and feature film \u2018living trilogy\u2019 a very special experience.<\/p>\n
Accompanying the screening of his oeuvre over the course of 4 days, the exhibition I\u00b4m happy to hear that you’re doing fine, which focuses primarily on material from the trilogy will be on display in the Nordic house.<\/p>\n
Entrance to the films is free and free tickets will be available soon in tix.is here on the Nordic House home page. The movies are in Swedish with English subtitles.<\/strong><\/p>\n SONGS FROM THE SECOND FLOOR (2000) <\/p>\n YOU THE LIVING (2007)<\/strong> <\/p>\n A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE (2014) <\/p>\n A SWEDISH LOVE STORY (1970) Something Happened (1987)<\/strong> Saturday, October 5th (1969)<\/strong> To Fetch a Bike (1968)<\/strong> Visiting One’s Son (1967)<\/strong> World of Glory (1990)\u00a0<\/strong> All the short films will be screened together. <\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" ROY ANDERSSON Considered one of Northern Europe\u2019s most renowned art film directors to date, Swedish filmmaker Roy Andersson has been hailed by critics and art cinemagoers alike for his unconventional visual and narrative style. Marked by his use of long, static shots filmed in wide-angle and deep focus, Andersson\u2019s \u201ctableau aesthetic\u201d is intimately linked to […]<\/p>\n","protected":false},"featured_media":18248,"template":"","event-categories":[86],"class_list":["post-17972","event","type-event","status-publish","has-post-thumbnail","hentry","event-categories-films","event_tags-nordic-film-festival-en","no-banner-image"],"acf":[],"_links":{"self":[{"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/event\/17972","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/event"}],"about":[{"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/types\/event"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/media\/18248"}],"wp:attachment":[{"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/media?parent=17972"}],"wp:term":[{"taxonomy":"event-categories","embeddable":true,"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/event-categories?post=17972"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}FILMS<\/h3>\n
\n<\/strong>One evening, somewhere in our hemisphere, a strange series of illogical events take place: a clerk is made redundant in a degrading manner; a lost immigrant is violently attacked in a busy street; a magician makes an error in his act. In the midst of this mayhem, one person stands out: Karl. While the new millennium is casting its web and creating a vast mental breakdown, Karl gradually becomes conscious of the absurdity of the world and realizes just how difficult it is to be human…
\n21.02 8 PM<\/strong><\/span>
\n23.02 4 PM<\/strong><\/span><\/p>\n
\nYou, the Living is a \ufb01lm about man’s existence, about the doings of man, about man’s behaviour, about man’s ponderings, about man’s concerns, about man’s dreams, about man’s sorrow, about man’s joy and about man’s inexhaustible longing for validation and love.
\n22.02 7 PM<\/strong><\/span>
\n23.02 6:30 PM<\/strong><\/span><\/p>\n
\n<\/strong>Following Songs from the Second Floor and You, the Living, Roy Andersson\u2019s award-winning film (Best Film, Venice 2014) forms the third part of a loose trilogy about life, death and what it means to be a human being. Sam and Jonathan are two travelling salesmen peddling novelty items \u2013 mostly unsuccessfully. Like modern-day Don Quixote and Sancho, they take us on a kaleidoscopic journey through multiple human destinies. It is a trip that shows us beauty in one moment, pettiness in another and the humour and tragedy within us all. One that evokes the grandeur of life as well as the ultimate frailty of humanity. By turns tragic, absurd, meditative and hilarious his work has drawn comparisons with Samuel Beckett, Monty Python, Ingmar Bergman and Laurel & Hardy, but in truth is utterly unique. Pulling together all the various strands of his previous films into a cohesive, resolved whole, A Pigeon\u2026 is the culmination of one of modern cinema\u2019s greatest talents and is nothing short of a masterpiece.
\n23.02 8 PM<\/span><\/strong>
\n24.02 8 PM<\/span><\/strong><\/p>\n
\n<\/strong>Two idealistic teenagers fall in love for the first time in this romantic drama. They try to remain hopeful in a cynical world of adults that discourage them. Their parents are weary from life’s constant problems and fail to take the young couple seriously when they speak of love and hope for the future. Rolf Sohlman and Ann-Sofie Kylin are the young couple in love who try to rise above the clouds of despair created by their parents.
\n22.02 5 PM<\/strong><\/span>
\n24.02 5 PM<\/strong><\/span><\/p>\n<\/a>short films:<\/h3>\n
\nA film that attempts to analyse the facts and fictions surrounding the discovery and eventual epidemic of the AIDS virus, funded by the Swedish Board of Health and Welfare to be distributed to schools, colleges and universities around the country.<\/p>\n
\nA black and white 1960s urban drama about the day a young Swedish man spends with his girlfriend, and anxiety’s intrusion upon it.<\/p>\n
\nA moving colour film that is somewhat sketchy scenes describes the morning activities of a tentative young pair of lovers. A minimalistic study of waking up on the wrong side of the bed, To Fetch a Bike shows two young lovers getting ready for a new day.<\/p>\n
\nThe storyline is about a son’s father (Lars Karlsteen) and mother (Maud Backeus) who come to visit him (Peter Egge) and his girlfriend (Kajsa Wilund) for the first time. The father continually criticizes the living condition his son is living in. The son does a good job of ignoring and not confronting his father’s rudeness. …<\/p>\n
\nA group of gentlemen and ladies stand around a lorry in an open place at the outskirts of a city. Naked men, women and children are herded in through the rear door of the lorry. When the door has been locked, one of the gentlemen takes a hose and connects it from the exhaust pipe to the interior of the lorry. Then the lorry drives around in circles in the open place. A middle-aged man in the foreground turns to face us in the audience…<\/p>\n
\n23.2\u00a0 12 PM – 3:30 PM<\/span><\/strong>
\n24.02\u00a0 12 PM – 3:30 PM\u00a0<\/span><\/strong><\/p>\n<\/a>