(Originally written July 23, 2005)

Director Michelangelo Antonioni’s films typically study the boredom and dissatisfaction of people in the modern world. Blowup and L’Eclisse both portray characters in love with what they cannot understand or comprehend. The protagonist of the 1966 British masterpiece is obsessed with a murder that may or may not have happened just as Vittoria in L’Eclisse only loves what she is not sure of. One receives this impression of Vittoria in the very first scene. The breakup, for her, is necessary because she understands her lover too well. The audience is able to see that this man does not genuinely care about the relationship. Vittoria summarizes this philosophy best when she expresses that “people shouldn’t know each other too well if they want to fall in love.”

This thematic continuity is also evident when one takes into account the only scenes in which Vittoria laughs or appears to be enjoying herself. One of the few times she seems full of joy is when she is “playing negroe.” This mystical dance from a place she has never been allows her to break free form the restrictions of modern Italy. However, there is a sense of savagery in this as one notes the person from Kenya with her guns and hunting ferocity. She herself has escaped from Africa to move to Italy. Antonioni films show that people are discontent with their lives no matter where they are coming from. Vittoria asks her Kenyan friend whether she was afraid of the large animals. In response, the friend responds, “I grew up around them. Are you afraid of cars?” Vittoria is not, but there is still a sense of insecurity in the mechanized world.

The modern world is shown to be violent and disappointing through the stock market, which brings about the story of Piero. This portrait of the uncompromising and callous world of the investors is brought out when a man on the speaker asks for a moment of silence. Although they do pay respect to the dead, they immediately return to screaming out the stocks they want to invest in. “Seconds cost billions,” and the stock market is all they seem to be worrying about. They are gamblers caught up in a materialistic world.

Even Vittoria’s mother is caught up in this madness, expressing deep sadness when she loses money. The mother is lonely, caught up in superstitions and solitaire. Her own misery has resulted from her self-isolation and rejection of what truly matters. Vittoria unsuccessfully reaches out to her mother who is too concerned about her money. Time and time again, Vittoria reaches to people who are too absorbed in their selfish desires. When she asks for help from a friend, all he attempts to do is satisfy his own lust by offering his physical closeness.

The closing of the film is so powerful, resonating with a quiet beauty that leaves a story unresolved, understanding that Vittoria will never find authentic resolution to the struggles in her life. The ending would be unheard of in today’s cinematic climate due to the fact that there is no real action taking place. It’s a series of shots with little movement, indicating the emptiness that is left for people to hang on to.