RIGID, ASHEN, AND CAMOUFLAGED against backgrounds intricately rendered in fifty shades of greige, characters throughout Roy Andersson’s 2014 A Pigeon Sat on a Branch Reflecting on Existence repeat the line “I’m happy to hear you’re doing fine.” Paired with the likes of a tortured, electrode-bound lab monkey and a man in an office on the brink of suicide—not to mention the entire film’s haunting by one Boschian vision of colonial terror—this recurring utterance becomes a searingly insipid punch line. Andersson, in Pigeon and the other two films in his “Living Trilogy,” depicts the symbiosis of