If there’s ever such thing as the Cinema of the absurd, then Roy Andersson is its Eugene Ionesco. Human condition is burned on the stakes in A Pigeon Sat on a Branch Reflecting on Existence, in the same fashion as its previous two efforts, Songs from the Second Floor and You, the Living. The living look half dead, pale and lifeless, consumed with dread and angst. There’s hidden meanings on every turn and silent pain.