As her memory fades into the background, her boyfriend and best friend go from concerned and investigative to eventually enamored of each other and tangled in their own troubled and tortured love affair. A group of rich Italians head out on a yachting trip to a deserted volcanic island in the Mediterranean. Critica e impressioni. It was presented to him by Jack Nicholson. Interview with F. Tomasulo, in On Film (Los Angeles), Fall 1984. Terzo film (assieme a L'avventura e La notte) di Antonioni sulla cosiddetta incomunicabilità, resa attraverso interminabili silenzi e significativi studi psicologici dei protagonisti. [18] They shared the FIPRESCI Prize at the Venice Film Festival with Cyclo. Curiously enough, our friends were invariably proletarian, and poor. Previously, he had been nominated for Academy Awards for Best Director and Best Screenplay for Blowup. sfn error: no target: CITEREFBordwell_and_Thompson2002 (, sfn error: no target: CITEREFCameron_&_Wood1971 (, sfn error: no target: CITEREFEcho_and_Leefeld1977 (. He is one of three directors to have won the Palme d'Or, the Golden Lion and the Golden Bear, and the only director to have won these three and the Golden Leopard. Ingmar Bergman stated in 2002 that while he considered the Antonioni films Blowup and La notte masterpieces, he found the other films boring and noted that he had never understood why Antonioni was held in such esteem. It was, as he described it, a type of film noir in reverse—a disaffected socialite goes on a boat trip with haute bourgeois friends only to suddenly vanish on a small and remote island; she is never found. A key text of swinging London, Michaelangelo Antonioni’s Palme d’Or winning film was released in 1967. "[22] AllMovie stated that "his films — a seminal body of enigmatic and intricate mood pieces — rejected action in favor of contemplation, championing image and design over character and story. He gives you a full shot of somebody walking down a road. Spoiler warning This feature gives away the ending of the film; If it’s true that we take a particular interest in the culture of the era just before we were born then my enthusiasm for L’eclisse may be pre-determined. Durata 140 min. Later that year he enrolled at the Centro Sperimentale di Cinematografia to study film technique, but left after three months. Antonioni lay in state at City Hall in Rome where a large screen showed black-and-white footage of him among his film sets and behind-the-scenes. In 1994 he was given the Honorary Academy Award "in recognition of his place as one of the cinema's master visual stylists." Durata 122 minuti. Durata 102 minuti. Upon graduation from the University of Bologna with a degree in economics, he started writing for the local Ferrara newspaper Il Corriere Padano in 1935 as a film journalist. It is based on Jean Cocteau's play L'Aigle à deux têtes (The Eagle With Two Heads). In 1985, Antonioni suffered a stroke, which left him partly paralyzed and unable to speak. But even in the way they wore their clothes, there was a fantasy, a frankness that made me prefer them to boys of bourgeois families. In Le Amiche (1955), Antonioni experimented with a radical new style: instead of a conventional narrative, he presented a series of apparently disconnected events, and he used long takes as part of his film making style. Grandissimo film, il più significativo di Antonioni insieme all' Avventura. One of my favorite games consisted of organizing towns. [6], As a child, Antonioni was fond of drawing and music. The film would go on to win a Special Jury Prize “for its remarkable contribution towards the search for a new cinematic language.”. Antonioni's final film, made when he was in his 90s, was a segment of the anthology film Eros (2004), entitled "Il filo pericoloso delle cose" ("The Dangerous Thread of Things"). The second to last film Antonioni would make with Vitti is the director’s first in color, and he makes striking use of the new tool, framing his urban landscape at a harsh, cold distance. 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[20] The U.S. DVD release of the film includes another 2004 short film by Antonioni, Lo sguardo di Michelangelo (The Gaze of Michelangelo). The picture could be seen as an erosion of values—how friends abandon their compatriots for a shallow affair that’s likely not going to last, but Antonioni is actually operating on a more complex level and embracing their relationship, not condemning it (which is usually the case with the torrid affairs he depicts). “L’Avventura” (“The Adventure” 1960) Directed by Michelangelo Antonioni. Durata 102 minuti. These childhood happenings - I was eleven years old - were like little films."[7]. [3] Film historian David Bordwell writes that in Antonioni's films, "Vacations, parties and artistic pursuits are vain efforts to conceal the characters' lack of purpose and emotion. Filmmaker, novelist, and screenwriter Alain Robbe-Grillet (he wrote Alain Resnais‘ masterwork, “Last Year at Marienbad“) once said, describing Antonioni’s work with a comparable auteur, “In a Hitchcock film, the meaning of what you see on the screen is constantly delayed, but at the end of the film you understand everything. A Venezia Classici tredici film d'autore. "[22], Wexman describes Antonioni's perspective on the world as that of a "postreligious Marxist and existentialist intellectual. I was born in the mid-1960s, only a couple of months after Michelangelo Antonioni had completed a cycle of four films which made waves in the international film scene. Per Umberto Eco, con L’avventura eLa notte, i… Penso che quelli su Antonioni siano i miei appunti più inutili in assoluto, sarebbe meglio dimenticarseli e andare subito a guardare i film, ma ormai li ho messi in fila, il lavoro è fatto, eccoli qui. However, he continued to make films, including Beyond the Clouds (1995), for which Wim Wenders filmed some scenes. [3] Film historian Virginia Wright Wexman notes the slowness of his camera and the absence of frequent cuts, stating that "he forces our full attention by continuing the shot long after others would cut away. [24], Antonioni's plots were experimental, ambiguous, and elusive, often featuring middle-class characters who suffer from ennui, desperation, or joyless sex. [30] Miklós Jancsó considers Antonioni as his master. Antonioni (1912–2007), whose fascination with mediated reality only deepened over time, was a restless experimenter with composition, camera movement, cutting, and storytelling.