It's slow moving at first as a mystery but then they decide to leave the island and Sandro's and Claudia's relationship sparks. Suddenly we catch a glimpse of a world where the wealthy are bored and relationships are flat, and thus they always seek out new ones to fill the void, all while Anna's presence looms in the background despite being missing. Quite remarkable.
2,35- 2,80; per ansamblu destul de jalnicut, partea apreciabila la acest film fiind constuctia tipologiilor personajelor- frumosul ni se arata din complexitatea credintelor si ideilor ce vine din partea personajelor, pe cand forma de redare -ideatica si apoi vizuala- este prea departe de delicatetea personajelor: momentele emotionante sunt evident lasate mai mult si tot asa, unde e subtilitatea non-evidenta?
Now I know why this movie is booed when it screened on Cannes years ago. Maybe some people wasn't prepared for this kind of storytelling. This movie didn't meet their expectations. L'AVVENTURA is truly a landmark and changed the face of world cinema. At first sight, L'AVVENTURA looks like a mystery movie. Then, it turned into a drama about existentialism, isolation, and character study. An unforgettable experience!
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.
L'Avventura is one of the pioneer movies that changed films landscape in the early 60's. Slow panning camera shots and concise black and white cinematography evoke a dreamlike, nostalgic state. This accompanies the disjointed narrative covering topics existentially such as love, loss, and guilt. Despite being boo'd at Cannes, this movie became one of the most influential avante Garde films ever made.
8.5/10. I haven't quite wrapped my head around L'AVVENTURA. The film's central mystery--the disappearance of Ana--disturbingly seems to hardly affect the majority of the characters. While it would be tempting to maybe call the film a satire at this point, that would discount many of the (devastating) dramatic scenes left that feel more consistent with the first half of the film.
Chic cynicism won't do it anymore for me. Let's hear it from the distraught: why is Anna reading the Bible? Who is watching Claudia and Sandro when they leave the empty village with a big church in the background? No God, no Anna, no passions? Let's blame modernity, sure, but why not root our critique on capitalism? Speaking of critique, why are so many of the shots in this film so awkwardly constructed?