Nobody wants misery, we want happiness. And yet it is precisely by chasing it, and not letting it come naturally, that we disappoint ourselves. And even if we do obtain it, we will only desire more. In this madness, we are rendered vulnerable for our inevitable downfall, as the memories of past struggles are eclipsed by the present sense of nirvana. We fall, we rise, we fall. That is a masterpiece. That is L'Eclisse.
Although I do admire the visually stunning black and white cinematography, L’Eclisse is by a comfortable distance the worst entry in Antonioni’s thematic trilogy as it's his most disappointing effort both in terms of script and direction. Michelangelo once again puts the bourgeois against the boredom of modern life and explores their existential crisis, but he does it with much less originality, life and passion.
Long & often ponderous, but beautifully shot & as cryptic as ever from Antonioni's world of symbolism. The film is beautifully & meticulously shot as every small caveat, extra & utterance exists with profound purpose. You could watch the film 101 times & still pluck out new ambiguously intentional meaning. Antonioni isn't emotionally driven, instead the trifles of the middle class & perception reign to superb effect
As handsome as its leading man, and as complex as its leading lady.You could watch three times before you got bored of looking at it, and you would have to watch it three time before you understood it. Essentially: Lady loves man, man loves things. The material world eclipses the natural. Throw in a wordless, 7-minute apocalyptic ending and you have a meaty art-house film that drags in parts but ultimately satiates.
I haver never seen an Antonioni movie before and I think I started out the right way. Watching this movie was like being deeply stabbed in the heart, rather than punched in the stomach. All shots are flawless and the words are so honest. This is pure art and a matter that dialects directly with who I am now. In the end I was hiding my commotion from the crowd and I walked home knowing something had changed.
Monica Vitti is mesmerising as a young woman alienated from the materialism and thoughtlesness of those around her. I could watch her all day as she gazes, lost in contemplation, at her surroundings. A smart and beautiful film, with a stunning, dialogue-less, closing montage of the stark city landscape which could only be pulled off by a genius in his prime. A slow burner but ultimately captivating.
Visually stunning. In order to be totally enthralled by this, as I now understand, you have to try and understand the unlimited meanings of each of Antonioni's shots and themes. I'm glad I finally got this but it did take me four separate full viewings. It's now become one of only 15 films I've rated 10/10