In Milan, after visiting dear friend Tommaso Garani that is terminal in a hospital, the writer Giovanni Pontano goes to a party for the release of his last book, and his wife Lydia Pontano visits the place where she lived many years ago. In the night, they go to a night-club, and later to a party in the mansion of the tycoon Mr. Gherardini. Along the night, Giovanni flirts with Valentina Gherardini, the daughter of the host, and then he receives a proposal to work for him in the area of communication and write the history of his company. Meanwhile, Lydia flirts with the playboy Roberto. –IMDb
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
Much too much Fellini but in a dissociated anemic vein as if Antonioni had been channeling Federico through a fog of pot smoke.
This week we highlight a unique film journal, a couple of recent Q&As and a review of a new book on Andrei Tarkovsky’s Stalker.
A surprising homage to Michelangelo Antonioni from famed American minimalist sculptor Dan Flavin.
Critic-filmmaker Luc Moullet pens a provocative, previously unpublished take on the difference between the B&W and color work of Antonioni.
"Breaking up is hard to do," Neal Sedaka once sang, in syrupy tones. Just how hard it is to do is the subject unrelentingly dissected by writer
Another entry into Antonioni’s film canon of existential contemplation, this time heavier on the absurdism. Antonioni’s male lead, Marcello Mastriani, begins to realize his struggle in an existential… read review