This film is unlikely to appeal to those who are accustomed to the template of Hollywood cinema, consistently developing the plot from the strings to the climax through the obligatory climax. The Andersson nothing; he shoots without a script and production schedule, all episodes continuous improvisation, each time taken a long plan with one camera and one angle: the installation Director for the most part rejects. However, the film does not leave the feeling of chaos, the composition is adjusted to the millimeter and gives much theatricality as its static and items. The Andersson your view on what should be the perfect frame, it creates scenes and episodes hones to perfection, and perezhimaya otshlifovyvaya them repeatedly until you get a satisfactory result.
“You, the living” is the second picture of the trilogy on human existence in some way a selection of the usual Andersson social advertising, United by a common mood and color scheme, or if you want not always funny collection of anecdotes about ordinary people, a series of small sketches about the little people. Fifty scenes, which the Director himself has called “moving pictures”, and fifty illustrations joyless life of petty desires and submissive hopelessness. Faceless interiors, faceless people, no bright colors, no vivid feelings, muted, close to gray and neprene, broken nagging melancholy face, razmenivayas in the hour and a half monologue of the Director of the living here and now. “Tomorrow is a new day,” every night, says the bartender in a crappy bar, calling to make last for now ordering, but will this day never comes and nothing has changed either in humans or around them. Still the musicians brought their wives and neighbors to distraction by the endless rehearsals and a fat lady drinking alcohol pipe dream about a motorcycle, complains that no one understands her, and the girl in a ridiculous purple boots practices his declarations of love guitar rock band, dreaming about marriage and living together in close space of bourgeois life.
Andersson meticulously draws the features of the world, repeatedly, to the grotesque, amplifying them, but not exposing, and good-naturedly, though sadly, ridiculing. As entangled in the leash of a Dachshund, which, without noticing, pulling on the land lapsed into insanity the boss in one of the first scenes of the film and all the characters are crushed by the existence of surrendered and is unlikely to represent a different life, humbly allow fate to drag myself from one day to the next. Their dreams are only a continuation of the grey present and a little of him distinguishable, and absurd reality smoothly into absurd visions, filled with all the same small narrow-minded passions. All of these people, masterfully drawn by Andersson collective portrait of contemporary. That’s you, the living.