Fans. Still objects. New constructs. Phallic modern “art.” Fluttering leaves. Coliseum. Numbers. Silence. Suits and ties in uproar. Phone rings. Interior furnish. Exterior décor. Photographs. Africa. Dogs. Airplanes. Flowers. A totalled car. Sprinkler. Lounge chairs. Coca-cola. Nukes. Wood on water. Street lights. Two vacuous souls. Verdict: no human life detected. The greatest science-fiction film of all time.
more like 3,9. "but they're also hands in search of an erotic contact that is missing. it's a latent eroticism, but never obvious. it's substituted by games." ///i must admit, alain delon's face made it quite hard for me to concentrate on the action itself
I have finally seen Monica Vitti on the big screen! That will shake your world up. Ah, Monica Vitti. Ah, the solemnity of progress. Ah, the dread in which we are immersed. Ah, Eros unto depopulation. The big screen. L'Eclisse. It will return to me on my deathbed and I will let go happily.
Quite a successful portrayal of an alienating, money driven society. Lovely BW compositions. A stunning opening scene. African ladies' night. The best possible choice of main actors. Vittoria-fascinating subtility,elegance and a slight emotional detachment = intriguingly mysterious. Contrastng moments between instant joy and confusion on her face. The only thing I very much missed was more complex dialogue scenes.
"In later years, Michelangelo Antonioni admitted that this was not one of his favorite films and that he went too far and overindulged in the film's controversially elliptical ending." Agreed. My least favorite of the "Incomunicability Trilogy".
A depressing outlook on love in the modern world. Vittoria is looking for that special something but comes to the sad realization that it's hard to find. The way Antonioni sets this up through excellent mise-en-cadre is a lust for the eye and as to be expected with this director the visual poetry is quite amazing. It's Italian though so be warned it's also a little slow.
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.