In a scene's setup with Hitler's appearance Roy Andersson copied the painting titled "The End" depicting Hitler during his final days in his bunker in Berlin by Kukryniksy.
The opening scene of the film is an ode to the Marc Chagall painting "Over the Town" (1918).
In the bus scene, Martin Bormann (from the previous bunker-scene) is clearly seen among the passengers.
In the film, life unfolds as a series of highly stylized, bone-dry comic sketches. Each sketch is like a diorama, shot with a fixed camera on a studio set that makes intricate use of miniatures and digital effects. Against these meticulous backdrops, filmed in deliberately muted colors, writer/director Roy Andersson shows people going about their crushing routines, sometimes in dreary-looking rooms and offices, sometimes in bars or on the street. If that sounds unbearably heavy, it somehow isn't. Even at the grimmest moments, Andersson has a bracing sense of the absurd.