At this point it’s hard to be surprised by another Roy Andersson film, whose one-of-a-kind aesthetics haven’t changed much in the last 30 years. That said, it’s still easy to be stunned by them. About Endlessness is probably his quietest and most abstract work to date, with each of its segments telling no more than a one-sentence story. The director has long been saying that his visual style is heavily inspired by paintings and that he aims for each of his vignettes to be a “living painting”. This has never been more accurate than with this film - moving “paintings” that tell the simplest, smallest of stories about the human experience. Stories that can be deeply moving nonetheless.