Andreas Nilsson
Convergence Station
- DirectorAndreas Nilsson
- CinematographerJallo Faber
- Production CompanyBiscuit Film
- AgencyWieden+Kennedy Portland
LIONEL GOLDSTEIN Andreas knows how to combine all these earlier forms of absurd and experimental humor into his own world, yet it can still be seen as commercial. To me, he is a kind of heir to the Traktor Clan, but in a more cinematic way. It is always striking how perfectly his commercials are made, as if, unlike Lionel, he leaves nothing to chance.
Surrealism Without Chance
This precision is also what makes Andreas Nilsson such a compelling fit for worlds that exist somewhere between fiction, advertising, and art. His promotional film for Meow Wolf’s Convergence Station in Denver is a clear example: conceived less as a conventional trailer and more as a surreal travel advertisement for interdimensional transit, the spot extends the mythology of the exhibition rather than simply promoting it. Drawing on retro tourism imagery, distorted archival footage, and meticulously crafted digital mutations, Nilsson turns the language of the commercial into a portal of its own - one that feels uncanny, humorous, and oddly sincere at the same time.
This approach is emblematic of his broader tonal signature. Nilsson’s surrealism is rarely chaotic; instead, it is tightly composed, cinematic, and controlled, allowing absurdity to unfold within carefully constructed frames. The result is work that feels strange without being alienating, playful without becoming sloppy, and commercial without ever fully surrendering to convention. In Nilsson’s universe, the bizarre is not an interruption of reality but a parallel system - one that operates by its own internal logic and invites the viewer to step inside, even if only for the length of a perfectly engineered spot.