The Antonioni canon consensus pick, but it still seems like a formative or transitional film. The atmosphere could be thicker and the passion of the heroine more consistently lucid. (Vitti isn't a character so much as a photographed presence, albeit a vivid one). La Notte, Red Desert, and Blow-Up are tighter and more immediately hypnotic. But her final gesture of pity for an addict of hollow pleasure always gets me.
Impossibly well shot, some of the most stunning landscapes&framing ever. Studious, slow shots work; some dialogue scenes seem to lack even thematic point... could lose 30min. Vitti powerful, Ferzetti lame. Dropped plot bold. Overly melodramatic dialogue, possibly intentional. Confused modern world thinks it has no need for classic virtues & suffers for it. Ending satisfying. Weakest of trilogy 3.25
As a story about male-female power dynamics, this film leaves me hopeful. Anna is trapped between her father & Sandro, and feels no agency of her own. Her disappearance is like a Greek myth; she vanishes from the island of volcanic domesticity. Claudia has agency; she is not a pawn, and she insists that Sandro acknowledge her needs. In the final scene she stands above Sandro, in control of what will happen next.
★★★★ /35mm/ Antonioni’s great film brilliantly expresses the encroaching existential angst of a modernizing Italy through the disappearance of a young woman and the halfhearted attempt at finding her. Antonioni manifests a hypnotic mood throughout, the frivolous search by the amused bourgeois on the island, the gruesome male of Ferzetti, the pathetic need of Vitti, the emotional devastation of choices.
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!