Lotto is more than a family ritual — it’s about asserting yourself on a national stage. Even if this time it’s just a living room lit up by the TV.
The trivialism of Andersson’s short films, as he puts it himself, the controlled lighting and the studio sets, were established in the middle and second half of the 1980s. It was commercials that unleashed the director’s ability to write jokes with a scythe — this work is just the beginning.
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