Now that I have seen Zabriskie Point, I must retract my earlier statement. However, L'eclisse is still a fantastic film.
Meravigliosa chiusura di una trilogia impareggiabile:Antonioni ci regala ancora delle sequenze di pura bellezza,condisce il tutto di silenzi che sembrano urlare,mostrando disagi che si cerca di nascondere ma che invece si manifestano di continuo.Un vortice borghese in cui annega qualsiasi coscienza,dove sembra non esserci più spazio per altro.In quanto ad arte cinematografica Antonioni in Italia è il top assoluto.5*
Still my favorite Antonioni. So many details. Such a unique sense of narrative. One of the greatest endings.
Those final seven minutes. Like the title of the film; the light, then the darkness.
My all-time favorite movie. Why? It's still the only film that made me burst into tears when the end finally came. Why was that? Because it was the movie that put all my most precious thoughts in only 120 minutes in a way I don't think it was possible to make. It's the movie of my dreams: every shot is perfect, every move, every word, every meaning... The Desert Island pick for me, still waiting for something better
I have to admit...After the 2nd viewing i can see why this film is so important to modern cinema.
I remember watching this years ago and being stunned by its insight and the directors flair for depicting the flaws in modern society for finding and building relationships. It echoes many of my frustrations in life, and the continual realisations had within this increasingly mechanized world. So perfectly. A film which says so much, without hardly saying anything at all. If you take time to listen.
Everything I have looked at so far is "not available in your area". What iis the point of this site?
This film is something special. I haven't met an Antonioni film I didn't like. (To be fair, I haven't seen Zabriskie Point yet...)
Ennui Roma: Stanza Tre. Starting the most concentrated entry: communication breakdown, failed marriage, unhappiness. Greater depth to La notte’s Fellinisms, targeting the callous affluenza, blind greed, hollow glamour - the suits, cars, pied-à-terres; frenzied stockbrokers the unmistakeable device. After presiding secondary prior, Vitti’s the primary outlet, the muse to Antonioni’s maestro (and, once again, Delon is preposterously photogenic). Its final collage seals it the most despondent of the trilogy; palpable portrait.
Pretty much a perfect film. Athough a couple of scenes really come off as extremely racist and get under my skin.
As in The Passenger, the key relationships are exercises in solipsism from which the leads make brave but hopeless attempts to escape, whether into authentic independence or into a great, "true" love in which the connection runs deeper than mutual mirroring and inertia. The storied closing montage perfectly encapsulates the all-too-immediate anxieties of the time, and presages the explosive finale of Zabriskie Point.
gets better with each viewing. actions are meaningless. Monica Vitti is directionless and emotionally absent, devoid of accountability. the look of content and joy on Alain Delon's face after he finally feels he's on firm ground with Vitti and expects to see her that night is devastating. When she says "I wish I didn't love you, or that I loved you more" is just stupid enough to be real. a masterpiece.
My least favorite of the trilogy, but that ending- holy hell. L'Avventura is still his best, but this competes with it as the most masterfully directed Antonioni film I've seen.
Vitti's character is fascinating; existential heroines are rare. Initially one feels that her condition is temporary; the plane journey and the scene where she gets lost in the imagery of the African wilderness hint at the life of spontaneity she desires. Instead, she escapes into an empty relationship, and the film becomes increasingly hopeless. The incredible finale suggests a world of intrinsic meaninglessness.