"It’s a slow-burn stunner."
— Tim Grierson, Paste Magazine
"It’s life, both not as we know it, and yet precisely as we experience it."
— Tara Brady, The Irish Times
"it's unlike anything you will see elsewhere in cinema today."
— Kevin Maher, Times (UK)
"Andersson’s films are endlessly rewatchable. To view them is to abolish gravity."
— Peter Bradshaw, The Guardian
"Absurdist humour, global history and abject horror sit side by side, all equally weighted and witnessed."
— Mark Kermode, Observer (UK)
"Roy Andersson is one of our greatest living filmmakers that you never heard of. Here's your chance to dive in."
— Randy Myers, San Jose Mercury News
"About Endlessness contains moments of devilish wit, but at heart it is a sad, sweet picture, threaded with themes of estrangement and separation."
— Xan Brooks, Guardian
"At the age of 78, Andersson continues to make films that desire to capture no less than a grand sense of human existence — and that somehow achieve it."
— Alison Willmore, New York Magazine (Vulture)
"It’s another astounding assemblage of dryly humorous, immaculately designed, fixed-camera vignettes, if an even more morose collection than the previous ones."
— Josh Larsen, LarsenOnFilm
"He remains a master of composition, subtly guiding your eye towards details that reveal the kind of stories we might usually overlook – in life as well as in the cinema itself."
— Robbie Collin, The Telegraph
"It’s meditative, mournful and gently funny, and celebratory, too, but in a muted way. If you don’t know what kind of movie you’re in the mood for, this may be the one. It’s a tonic for listless times."
— Stephanie Zacharek, Time
"Funny, tragic, moving scenes unfold in Andersson’s meticulously crafted frames. In cafes, bedrooms, offices, street corners suffused in muted off-whites and grays, with characters (mostly nonprofessionals) participating in a sublime ballet of choreographed insecurity, doubt, and frustration, but also of tender and fragile grace."
— Josh Kupecki, Austin Chronicle
"As usual, Anderson offers a stirring, compelling counter-example to mainstream film, eschewing familiar, conventional character or plot-driven storytelling, mobile camerawork, or traditional editing. Instead, Anderson has deliberately embraced a rigorously minimalist, austere approach: deadpan-inflected, satirical vignettes, one-shot/one-scene camera set-ups, and occasional fade-to-blacks or abrupt cuts to mark the ending of one abstractly connected scene or idea to another, all meticulously planned, filmed, and edited from Anderson’s beloved Stockholm-based soundstage."
— Mel Valentin, The Playlist