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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

New yorkUnited statesRoy anderssonEmmanuel rivaNeue sachlichkeitTony pipoloKarl hoferGeorg scholzFelix nussbaumMon amourCaden cotardBranch reflecting on existenceAbout endlessnessPigeon satBranch reflectingWorld war