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6,047 Ratings


Italy, France, 1962


A young woman, Vittoria, has just recently put an end to a love story with an older man. After meeting Piero, a stock market trader, the two start seeing each other and wander through the deserted, modernist suburbs of Rome. Their affair, however, will soon reveals itself to be a doomed one.

Our take

Following L’avventura & La notte, modernity’s greatest critic Michelangelo Antonioni concludes his ‘incommunicability’ trilogy with the foreboding, formidable L’eclisse, and—in turn—one of the most stirring finales in all of cinema. With regular star Monica Vitti, and French icon Alain Delon.

L'Eclisse Directed by Michelangelo Antonioni
Working with cinematographer Gianni Di Venanzo, who had shot most of his prior films, Antonioni advances a progressively experimental style with L’eclisse, embracing not only a further departure from conventional storytelling but a fascinating development of formal design. His compositions, abstract and vividly disjointed, are also remarkably complex, yielding a continual capacity for illustrative interpretation.
April 20, 2020
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L’eclisse has worn its half-century well. That’s partly because Antonioni’s matchless eye for architecture makes its environs seem startlingly modern even today.
October 02, 2015
It’s a bittersweet film, about the impossibility of love, the impossibility of romance, the impossibility of ever connecting with another person on anything more than a primal level.
August 28, 2015
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What are people saying?

  • Samuel T.'s rating of the film L'Eclisse

    Re-view. 16mm. Was Red Desert not the 4th of a quartet? Doesn't matter. We get it. More post-war bourgeois malaise, frosty isolation, ignorance, pretension. Still, I was glued- Antonioni's ability to turn objects into symbols, specifically in the first chamber; the crops with sexy finger touch, Vitti declaring "books, table, chair, man" as all the same- here, in cinema, everything in frame is to be tasted. Delicious.

  • Martin Wilson's rating of the film L'Eclisse

    There is a case to be made for describing Antonioni as one of the greatest and most original of all suspense directors. The core of his vision, and the essence of suspense, is in waiting for something to happen. And you're not always sure what exactly. This is existential suspense, its vagueness grounded in the languidly tense way Antonioni films and edits. He's further proof - suspense is cinema. Hitchcock's equal.

  • HSBilly's rating of the film L'Eclisse

    the beautiful monica vitti pairing with the dashing alain delon, perfect. and it ends with that haunting last 7 minutes

  • waywardwaters's rating of the film L'Eclisse

    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.

  • ASHES IN THE HOURGLASS's rating of the film L'Eclisse

    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.

  • Mellow Dude's rating of the film L'Eclisse

    additional star just for that ending. like scorsese said: endless cinematic possibilities

  • Matthew Martens's rating of the film L'Eclisse

    As in The Passenger, the key relationships are exercises in solipsism from which the leads make brave but hopeless attempts to escape, whether into authentic independence or into a great, "true" love in which the connection runs deeper than mutual mirroring and inertia. The storied closing montage perfectly encapsulates the all-too-immediate anxieties of the time, and presages the explosive finale of Zabriskie Point.

  • Freddie Sutton's rating of the film L'Eclisse

    gets better with each viewing. actions are meaningless. Monica Vitti is directionless and emotionally absent, devoid of accountability. the look of content and joy on Alain Delon's face after he finally feels he's on firm ground with Vitti and expects to see her that night is devastating. When she says "I wish I didn't love you, or that I loved you more" is just stupid enough to be real. a masterpiece.

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