En due satt på en gren og funderte over tilværelsen - Kritiken

The world of A Pigeon Sat on a Branch Reflecting on Existence is, in that sense, fragile, but not really moribund... That kind of mulishly stubborn resilience is very human, and also very funny.

...a brilliantly distinctive film that no one else could have made...

...may be Andersson’s masterpiece, but like any challenging work by an important artist, it’s not for everyone...

...Andersson has taken this particular mode of filmmaking about as far as it can probably go [...]. But that mode remains so unique, so powerfully unprecedented, that it’s impossible not to get hits of pleasure...

...[Andersson skaber] en række tableauer, som er blandt hans suverænt bedste.

Det er meditativt, beroligende, ofte morsomt på en næsten trodsig måde – og frem for alt så konsekvent udført, at man kun kan begejstres.

Roy Andersson har gjort en ovanligt varm och humoristisk film om skam – från 1700-talet fram till våra dagar.

The spirits of Samuel Beckett and Spike Milligan waltz through this beige-green purgatory, a series of arresting static-camera vignettes, pasty of face, deadpan of composition.

Sweden’s Roy Andersson offers a singular take on the human condition in this triumphant trilogy-closer.

Anderssons trilogi er et unikt værk og en af de store bedrifter i moderne europæisk artfilm.

Mer absurd än föregångarna.

Ett potentiellt mycket mer kraftfullt budskap än vad det vid första anblick ser ut som.