One sequence at the stock exchange stood out to me the most in which we follow Alain Delon's This, before they all embark on an afternoon excursion to an island off Sicily for a picnic with a group of other acquaintances (‘the adventure’). There is no excuse to enforce upon the actress real, insecure feelings so as to get a better picture but it sounds like it was a common practice. La ressortie concomitante en salles, cette semaine, de La Nuit (1961) et de L’Éclipse [1] Qui fait également l’objet d’une édition en Blu-Ray. When examining the history of cinema and its road to where it is now, it can sometimes be illuminated by focusing on the huge role that Italy has played in it. Known as the trilogy of ‘modernity and its discontents’, L’Avventura (1960), La Notte (1961) and L’Eclisse (1962) saw the rise to infamy for Antonioni, who by then was in his late 40s. Piero takes her to his parents' apartment, which is filled with beautiful works of art and sculpture. Finalement, La Notte consacre le début de l’intérêt d’Antonioni pour les paysages urbains, tout en s’éloignant de la logique néo-réaliste. Might give it a go. When he meets Vittoria again, who he is besotted with since their first encounter, his sports car is stolen and both of them discover it later having crashed off the road with the car-jacker dead beside it. L'Eclisse (1963) Director: Michelangelo Antonioni Actors: Monica Vitti, Alain Delon, Francisco Rabal Synopsis: Over a series of weeks in Rome, a young woman, Vittoria (Monica Vitti), ends one relationship, then slowly becomes involved in another - with a buccaneering stockbroker, Piero (Alain Delon). Having said all that, what we see in these films with Vitti, Moreau and Massari for example, are powerful and nuanced female performances – and I am not just saying that. Like Fellini and Giulietta Masina (La Strada and Nights of Cabiria), and Godard and Anna Karina (Vivre sa Vie and Alphaville), the function of the female ingénue to the dominating male director was a fairly common occurrence back then. There is a feeling at the end, just like La Notte and L’Avventura that the relationship will never come of anything and it will pass into an inconsequential moment of the past…just like the moon passing between the sun and the earth as shown in the eclipse at the end. The breadth of the film incorporates a series of events that lead to this less than dramatic, and expected, disintegration, ending at a high class soiree that night. After splitting from her writer boyfriend, Riccardo, Vittoria meets Piero, a lively stockbroker, on the hectic floor of the Roman stock exchange. In many ways, we have seen this become normalised in films since the 1960s so it is very hard for us to understand what exactly is wrong with it now. Please try again later. But then maybe they shouldn't fall in love at all." But for the real deal, I do not think I can look much further than the work of Michelangelo Antonioni’s masterpieces from the early 1960s. Well now, where do you start with that? Following the announcement of a colleague's fatal heart attack and a moment of silence in memoriam, the room erupts back into frenzied activity. L'avventura è un film del 1960, diretto da Michelangelo Antonioni . As indicated above though, nothing is ever clear in Antonioni’s conclusions. Description: xviii, 497 pages illustrations 22 cm. I due amanti sembrano felici e si promettono amore eterno (“ Ci vediamo domani e dopo domani, il giorno dopo e l’altro ancora e quello dopo… ”), per poi perdersi in un lungo abbraccio, concedendosi uno sguardo in macchina. If his two previous films were unclear, then try and disassemble this one. Wilson Company. Developed from a story by Antonioni with co-writers Elio Bartolini and Tonino Guerra, the film is about the disappearance of a young woman (Lea Massari) during a boating trip in the Mediterranean, and the subsequent search for her by her lover (Gabriele Ferzetti) and her best friend (Monica Vitti). I will attempt it nevertheless. She says that's how she feels around him. That evening, on Sunday 10 September 1961, neither shows up at the appointed meeting place. Scene from Antonioni's 'L'eclisse'. Willis J. L’Avventura is worth the effort! The alignment between his film’s themes and the work of Ingmar Bergman are unavoidable – both are critically recognised as the greatest directors in the history of cinema, and their films are a staple for film students around the world. Back in her apartment, Riccardo calls for her, but she hides and doesn't answer. As with L’Avventura and La Notte, Antonioni’s attentiveness to the sensory and almost karmic aura of the modern world is to the fore. 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