The deeply eccentric Roy Anderssons meticulously mounted comic sketches move from historic fantasy to hilariously deadpan humour as he muses on humanitys inescapable absurdity. Frequently imitated but only ever equalled, Roy Andersson, cinemas deadpan poet of drabness, takes years to craft and string together his exquisite, absurdist scenarios about what it means to be a human being. Featuring the whitest white people in cinema (Nick Pinkerton, Sight & Sound), and the least healthy looking, his films unfold towards their pokerfaced punchlines in elaborate studio-built dioramas that constitute miracles of banality in their own right. The sketches in Pigeon are connected by the wanderings of a pair of weary salesmen with three fun items to offer: a set of vampire teeth, a laughing bag, and a rubber fright mask called Uncle One-Tooth. Needless to say, no ones buying. The film won the Golden Lion, Best Film, Venice Film Festival 2014.
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