Michelangelo Antonioni’s Identification of a Woman is a body- and soul-baring voyage into one man’s artistic and erotic consciousness. After his wife leaves him, a film director finds himself drawn into affairs with two enigmatic women, while at the same time searching for the right subject (and actress) for his next film. This spellbinding anti-romance was a late-career coup for the legendary Italian filmmaker, and is renowned for its sexual explicitness and an extended scene on a fog- enshrouded highway that stands with the director’s greatest set pieces. –The Criterion Collection
Michelangelo Antonioni once described his work as “archeological research” which sifted through “the arid remains of our times”. If Fellini claimed to treat the past as science fiction, Antonioni gazed deeply into the future already visible in the present (L’Eclisse) or a past which uneasily hung onto a present that had outlived it (L’Avventura). Born in an upper-middle class family in Ferrara in 1912; Antonioni studied economics at the University of Bologna, where he staged works by Luigi Pirandello as well as original work written by himself. Antonioni’s time as a film critic for the Roman Cinema magazine brought him in contact with Cesare Zavattini, Federico Fellini, Roberto Rossellini, Luchino Visconti and others. For Rossellini, he would co-write Un pilota ritorna and with Fellini, he collaborated on the screenplay of his first feature The White Shiek.
Antonioni, however, yearned to begin his own career in film. To this end, he enrolled at the Centro Sperimentale di Cinemografia… read more
Some of Antonioni's recurrent themes here lack the depth and roundness of earlier works. Despite the excellent photography, there is a sense a disunity that prevents from engaging in the story and identifying with any of the characters.
Critic-filmmaker Luc Moullet pens a provocative, previously unpublished take on the difference between the B&W and color work of Antonioni.