About Endlessness: Roy Andersson’s hard-to-define film is not interested in telling an overarching story; as it looks at the human condition, it tells a large number of stories. Its aesthetics are very particular: the tone and the wit are the dryest of the dry; to say the film is minimalist is an overstatement, as the camera never (well, almost never) moves from its distant position, and each segment is told in one uninterrupted shot; the performances are as close to neutral as possible, and the performers are made-up in a way that makes everyone look sickly. Yet, it is hypnotic to watch. Cinematographer Gergely Pálos frames each shot as a painting, giving them a rich perspective, a tableau where the action unfurls with very precise blocking. The production design is exquisite. The segments (with narrations that can be enlightening or very obvious) range from the mundane to the absurd, from joyous to dreary to touching, but they are generally connected to their opposite. It is, for sure, a very different and interesting experience.