Wall

Absolute masterpiece. Antonioni defines here modern cinema at its best and develops between poetry and fear the possible emptiness of our lives. It looks like all the environnement is always acting against Vitti's character (looks humourous that her name in the film is Vittoria), the wind in the trees, the structure of objects, of appartement. Looks like the anti-Malick, as Antonioni seeks emptiness in the world.

M Klein

6Feb12

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Gondo

8Jan12

Antonioni pushes his dead aesthetic to the extreme here and in the process of doing that opens a deep hole for us to fall in. A fall into an isolated and constantly self-destructible void of existing in a world that denies you you primal longings. A fall that you will not forget.

ULA ZUHRA

28Aug11

the most beautiful cinematography ever. absolutely beautiful! a great ending.

Zach Wood and Mathieu Langlois like this

JOE

15Aug11

A great film about miscommunication and isolation. Although it's almost 50 years old, its themes are still relevant and its characters are still interesting. Loved it!

keldon

25Jun11

"Theres always one arm too many" - I'm glad to finally see a film that acknowledges this issue.

PoutingBear and 4 others like this

Nayo Aragón, leão, Drunken Father Figure of Old, Mark Johnson

jaime

13May11

shot in some amazing locations around rome in b&w this film is lovely to watch. The characters are a bit introverted. Contains an unexpected blackface scene from this era.

catch_33

29Mar11

Aren't we all just lovers kissing through glass? The film plods along with minimal dynamics for an hour and 50 minutes as we watch Vittoria drift through her environment and contemplate her situation which is directionless and unmotivated. Then those final 10 minutes kick in which are so striking in comparison that they force you to reconsider everything you have just seen, making this a most insightful film.

Nayo Aragón and rado like this

SahilZafar

21Mar11

Michelangelo Antonioni with his brilliant take on communication (lack of) and relationships. Beautiful Monica Vitti and brilliant Alain Delon making this a delight to watch. Especially the last 10 minutes of this movie are pure artistic nirvana. Antonioni was a director to worship. Highly Recommended!

rado likes this

demarcated

1Mar11

I was looking forward to this film and I greatly enjoyed it... up to the unexpected (for me) blackface scene. Wow. No.

Rohit Apte

3Feb11

The first 15mins are rather the most boring part of the film. The movie picks up when Delon enters the frame. His nervous boyish energy, the share trading frenzy and some of the tender moments between Delon and Vitti are the highlights of the film. The random desolate visuals effectively convey the boredom but unfortunately getting bored is a sentiment that doesn't go down well with an interested audience.

Dr. Strangelove

31Jan11

The first 15 or so minutes are some of the greatest material ever filmed in cinema history. The thing is, it just keeps getting better. One of the greatest endings I've ever seen. A cinematic masterpiece in every aspect of the word. Dazzling, stunning and simply beautiful.

rado likes this

xuxuxush

19Jan11

plot is needlessly meandering, visuals are vacantly aestheticized...a depiction of ennui inducing unbearable ennui in the viewer.

Langston Young likes this

Clara OM

18Jan11

Monica Vitti and Alain Delon! I absolutely have to see this one!

rado

17Jan11

An achievement in modernism to be equalled on the other side of never.

odilonvert

14Dec10

My one reservation was the ending focus on the streetlight and accompanying "modern" piano music, after some beautiful and mysterious scenes post Vittoria + Piero's meeting. I loved it overall, but after it ended I had the sudden temptation to go around doing an end of L'Eclisse dead serious stare... There was something dated about that, sort of past avante-garde. But other than, a masterpiece.

comeandsee

11Dec10

one of the most perfect of all masterpieces. Antonioni does alienation like nobody else. he presents a world in which being able to love is almost impossible, social interaction and emotion are dead. each of his characters are just dots on the abstract landscape that he wishes to present. the final few minutes montage is out of this world. poetic, masterful and contemplative from possibly the greatest auteur ever.

rado likes this

Z. Bart

17Nov10

"La Notte," "Blow-Up," and "The Passenger" leave me awe-struck. "L'Avventura" and "L'Ecliise" leave me cold (though I do admire them). And "Zabriskie" . . . I'm probably not the only one who fast-forwards to one of the most lovely explosion scenes in modern cinema.