Paul Elliott’s review published on Letterboxd:
Consisting of a magnetising procession of concise vignettes, and conceivably the final film from the now seventy-seven-year-old Swedish auteur Roy Andersson, About Endlessness is a fascinating and ever-changing poetic requiem of the human condition. It's a testament to the filmmaker, together with the spectacular cinematography from Gergely Pálos, that the congregating impact communicates a unified visual poem which encapsulates the despair, loneliness and often bizarreness of life.
A stationary camera commandeers the graphic representations of hopelessness and the frequent farcicalities of life, and each of its filmed sections features a particularly allotted distinct and stunning aesthetic. It carries more than a few passing similarities with a few of his previous films, perhaps most specifically to his prior, the haunting and extraordinary A Pigeon Sat on a Branch Reflecting on Existence, which went on to win the Golden Lion at the 71st Venice International Film Festival. The images individually conceptualise a great deal of sovereignty, each with a unique economising of detail.
Andersson thrives in manipulating seemingly minor details, and there are terrific examples composed throughout each of the scenes. It scrutinises the solitary nature of personalised destruction and the illumination of a particular condition, interwoven with separation and estrangement themes. The compendium's structuring also enables a harshly mocking and discrediting of those who complain about issues in response to the absence of more pressing concerns.