A young woman mysteriously disappears on a yachting trip to a remote volcanic island in the Mediterranean. Her disaffected lover and best friend embark on an illicit affair while they search for her.
There is no canonical Arthouse masterpiece more essential than Michelangelo Antonioni’s L’avventura. Mysterious, emotional, and gorgeously composed, it is a pinnacle in movie history and one of the most profound meditations on the human condition in the modern world the medium has produced.
There's no way a blurb can do this film justice. The shift the film takes after Anna's disappearance begins the signify the struggles and difficulties of even existing. Anna's physical disappearance is synonymous with the void within the characters left behind as Antonioni's cinematic language paints the modern world to be every bit as treacherous and alienating as the island in the film's first half. Masterpiece.
It is a brilliant account of paranoid-melancholic state of random emotions triggered by sheer ambiguity, on the level of core instincts.
Antonioni's use of sound is as significant as his immaculate imagery in how he conjures up this unique cinematic universe.
I love Monica Vitti through the eyes of the master of pure language.
This is the first in the "Incommunicability Trilogy". People walk around wondering if they're loved, and if they're worthy. It's 2 and 1/2 hours long and it was booed the first time it was shown. Apparently those were stupid people, and they showed it again and everyone loved it. It won the Special Jury Prize at Cannes “for a new movie language and the beauty of its images.” Not quite a compliment.
Where L'Eclisse feels more like a poem of disillusionment, L'Avventura feels more like a melodrama or, at the very least, like a slightly awkward transition between his neorealist melodramas and his more understated works. I do wonder if people would continue to regard this as his masterpiece if the scene they filmed where the drowned body is discovered would have been included in the final cut.
Monica VITTI's carelessness and boredom suggest availability. Her distraught side, sometimes tinged with distress, and it's the portrait of a woman not only available, but also looking for protection. No man can resist. L'insouciance & l'ennui de Monica VITTI suggèrent la disponibilité. Son côté désemparé, parfois en détresse, et c'est le portrait d'une femme en demande de protection. Quel homme pourrait y résister?
One of my favorite films, and a visual experience to truly savor. The cinematic exploration of time and space is incredibly nuanced, even if the plot may seem tedious at times. Those who criticize the film's emotion as sterile forget the period in which the film was produced. Seeing L'Avventura at the Gene Siskel Film Center in Chicago was wonderful.