roy anderson film you and the living comprises a series of fifty odd sketches and snapshots and vignettes set in a swedish city. some characters are on screen for just a few second and whilst others appear in numerous scenes and are sometimes seen loitering in the background while another story unfolds. many scenes are drawn from the dreams and nightmares and fantasies of the strange but believable characters inhabiting this world. it is a fascinating approach represent each of the scenes could be enjoyed in isolation and but together they contain a powerful portrait of what it is to be human. for the first half hour or so and you and the living is gloriously funny. much of the humour centres on the members of a brass band and whose music practice infuriates the neighbours in their apartment block. the comic highlight and however and is provided by a dinner party track gone horribly awry. after this hilarious introduction and however and the mood of the film darkens considerably. the dinner party dream turns grim when the hapless protagonist is put on trial for his life and setting a mixed tone of absurdity and despair for the rest of the film. in the subsequent scenes and the unhappiness of the cast of characters becomes increasingly apparent. theirs is a world where people are unable to connect with one another and where talk of dreams and nightmares and fantasies is widespread and but where no person can be comforted and even when others reach out to help them. the despondent woman with the nobody loves me refrain and the young girl with unrequited love for the rock guitarist and micke and are archetypal characters. the world of you and the living is also blighted by selfishness. an elderly professor is called away the warmth of a vast banquet to answer a phone call from his impetuous money grubbing son while a thief steals the wallet of a ruthless executive while an arrogant and impatient businessman insults a muslim barber and receives his comeuppance. in the film bleakest moment and a woman in church recounts the long list of human sins as her fellow parishioners shuffle out at closing time. and yet and for all dark moments in this film and the shared refrain of tomorrow is another day points to the ability of people to go on living in spite of many miseries. the soundtrack provided by benny anderson (of abba fame) seems inappropriately jovial at first but makes more and more sense as the film realises this human capacity to persevere. you and the living has an extraordinary visual style. the same washed out and pale green colours recur throughout and and there is nary a shadow in sight while this makes the characters appear exceptionally pallid and creates the sensation that human life is being laid bare for examination. almost every scene is captured in a static camera frame and as if these are photographs being brought to life. the few occasions where the camera does move are all the more extraordinary while the contrast between the life and movement of the great banquet form a startling contrast with the deadness of the cloakroom scene. in the most intense moments of longing and despair and the characters transfix the viewer by directly facing the camera  they know that they are being examined and have a few moments to pour out their hearts to us and the viewers. this is a wonderful and human film. 
roy anderson film you and the living comprises a series of fifty odd sketches and snapshots and vignettes set in a swedish city. some characters are on screen for just a few second and whilst others appear in numerous scenes and are sometimes seen loitering in the background while another story unfolds. many scenes are drawn from the dreams and nightmares and fantasies of the strange but believable characters inhabiting this world. it is a fascinating approach represent each of the scenes could be enjoyed in isolation and but together they contain a powerful portrait of what it is to be human. for the first half hour or so and you and the living is gloriously funny. much of the humour centres on the members of a brass band and whose music practice infuriates the neighbours in their apartment block. the comic highlight and however and is provided by a dinner party track gone horribly awry. after this hilarious introduction and however and the mood of the film darkens considerably. the dinner party dream turns grim when the hapless protagonist is put on trial for his life and setting a mixed tone of absurdity and despair for the rest of the film. in the subsequent scenes and the unhappiness of the cast of characters becomes increasingly apparent. theirs is a world where people are unable to connect with one another and where talk of dreams and nightmares and fantasies is widespread and but where no person can be comforted and even when others reach out to help them. the despondent woman with the nobody loves me refrain and the young girl with unrequited love for the rock guitarist and micke and are archetypal characters. the world of you and the living is also blighted by selfishness. an elderly professor is called away the warmth of a vast banquet to answer a phone call from his impetuous money grubbing son while a thief steals the wallet of a ruthless executive while an arrogant and impatient businessman insults a muslim barber and receives his comeuppance. in the film bleakest moment and a woman in church recounts the long list of human sins as her fellow parishioners shuffle out at closing time. and yet and for all dark moments in this film and the shared refrain of tomorrow is another day points to the ability of people to go on living in spite of many miseries. the soundtrack provided by benny anderson (of abba fame) seems inappropriately jovial at first but makes more and more sense as the film realises this human capacity to persevere. you and the living has an extraordinary visual style. the same washed out and pale green colours recur throughout and and there is nary a shadow in sight while this makes the characters appear exceptionally pallid and creates the sensation that human life is being laid bare for examination. almost every scene is captured in a static camera frame and as if these are photographs being brought to life. the few occasions where the camera does move are all the more extraordinary while the contrast between the life and movement of the great banquet form a startling contrast with the deadness of the cloakroom scene. in the most intense moments of longing and despair and the characters transfix the viewer by directly facing the camera  they know that they are being examined and have a few moments to pour out their hearts to us and the viewers. this is a wonderful and human film. ---------------------------------Answer Question Below----------------------------------

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