Cinematography by Gianni Di Venanzo. It begins to seem a typical Italian comedy of the genre "Telefoni Bianchi", but as long as the dramatic density goes deeper and the various paths of the protagonists are detaching one from another, Antonioni builds a formalist découpage that registers perfectly their "mal de vivre "and "noia ". The next film would be obviously a "grido".
Here's another absorbing Antonioni film experience and a fascinating forerunner to what was to come from him in the next decade; a psychological melodrama regarding a woman's return to her native Turin and her encounters with a group of bored and aimless friends who feed on love and gossip. This is a moody picture; an ensemble piece with multiple intertwining story threads orchestrated perfectly by a great director..
Como Bergman, Antonioni realiza un filme sobre mujeres que cargan conflictos amorosos, solo que a diferencia del sueco, aquí las féminas no viven atormentadas por su pasado. Sus amores pertenecen a un presente y de su pasado poco se sabe. Aquí las mujeres no son presa de la inestabilidad. Cada una sabe lo que desea y cínicamente van cargando las consecuencias, sea la mediocridad, la alienación, el agoísmo o la muerte
For me, this is lesser Antonioni but is nonetheless still interesting. The beach scene here seems to foreshadow the island in L'Avventura and the inability of people to form perfect, loving relationships reflects what would become a recurring theme in Antonioni's masterworks.
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Le Amiche has become my favorite Antonioni. Each character moves with easy fluidity while simultaneously contrasting their counterpart. I loved the relationship between Clelia and the assistant. How the differences of two people that are just not ever meant to be together is studied is pure and realistic, and yet, not without great artistic expression. The beach scene is beauty. Lean and elegant. Highly recommended.