Michelangelo Antonioni

  • Michelangelo Antonioni – I vinti AKA The Vanquished (1953)

    1951-1960CrimeDramaItalyMichelangelo Antonioni

    Quote:
    A trilogy of stories of well-off youths who commit murders. In the French episode, a group of high school students kill one of their colleagues for his money. In the Italian episode, a university student’s involved in smuggling cigarettes. In the English episode, a lazy poet finds the body of a woman on the downs, and tries to sell his story to the press.Read More »

  • Michelangelo Antonioni – Professione: reporter (1975)

    1971-1980ArthouseDramaItalyMichelangelo Antonioni

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    Synopsis
    A frustrated war correspondent, unable to find the war he’s been asked to cover, takes the risky path of co-opting the I.D. of a dead arms dealer acquaintance.
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  • Michelangelo Antonioni – L’Eclisse (1962)

    1961-1970ArthouseDramaItalyMichelangelo Antonioni

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    Synopsis :
    Leaving her lover of four years, Vittoria starts an affair with a stockbroker. But as the film progresses, her emptiness becomes more obvious, echoed in the buildings and the landscape, and she finally decides on a life of solitude rather than marriage or a failing relationship. Completing what is now seen as a trilogy of films on alienation after The Adventure and The Night, The Eclipse paints a picture of how modern industrial society can obliterate the emotions between men and women. Antonioni uses his symbols boldly: the final shots – 52 of them – hauntingly reflect a city empty of life.Read More »

  • Michelangelo Antonioni – Identificazione di una donna AKA Identification of a Woman (1982)

    1981-1990ArthouseDramaItalyMichelangelo Antonioni

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    Michelangelo Antonioni’s Identification of a Woman is a body- and soul-baring voyage into one man’s artistic and erotic consciousness. After his wife leaves him, a film director finds himself drawn into affairs with two enigmatic women: at the same time, he searches for the right subject and actress for his next film. This spellbinding antiromance was a late-career coup for the legendary Italian filmmaker, and is renowned for its sexual explicitness and an extended scene on a fog-enshrouded highway that stands with the director’s greatest set pieces (-Criterion)Read More »

  • Michelangelo Antonioni – La signora senza camelie AKA The Lady Without Camelias [+Extras] (1953)

    1951-1960ArthouseDramaItalyMichelangelo Antonioni

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    Clara Manni (Lucia Bosé, so good in Antonioni’s A Story of a Love Affair), a Milan shop girl, is discovered on the street and used for a bit part in a movie. That single part brings her immediate celebrity, and with the coaxing of her producer, Gianni, she becomes a screen sex symbol. She has great success in several sex comedy vehicles, but Gianni decides to push her into the world of the art film in order to attain artistic legitimacy and respect. She never wishes for this, since money is never an issue to her, but she is pushed head first into a production of Joan of Arc. The film is brutally attacked by the critics, and Clara’s dignity and identity are thrown into question in the harrowing final shot.Read More »

  • Michelangelo Antonioni – Sette canne, un vestito (1949)

    1941-1950DocumentaryItalyMichelangelo AntonioniShort Film

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    short documentary on the production of rayon, shot in Torviscosa (Italy). It portrays the production of this new synthetic fabric in the small town of Torviscosa, entirely built following strict fascist canons.Read More »

  • Michelangelo Antonioni – Lo Sguardo di Michelangelo AKA Michelangelo Eye to Eye (2004)

    2001-2010ArthouseItalyMichelangelo AntonioniShort FilmSilent

    29f7c043f76a2bde437fd0d52a185152

    Quote:
    By the time Michelangelo Antonioni released Michelangelo Eye to EyeBeyond the Clouds in 1995, his keen sense of patient, intimate observation had seemed to give way to a kind of leering, gratuitous voyeurism in the film’s repeated, over-lingering shots of the female form. It is, however, precisely this painstaking attention to the voluptuousness of form and tactileness of surfaces that makes his subsequent short film, Michelangelo Eye to Eye particularly sensual and textural in its execution. Prefaced with a text description of the filmmaker’s recent health problems (in particular, a debilitating stroke that left him partially paralyzed), the film opens with a shot of a frail Antonioni emerging from the shadows as he walks in slow, awkward gait into an unpopulated hall where Michelangelo Buonarotti’s marble statue of Moses – a scaled down version of an ambitiously conceived wall tomb for Pope Julius II – is once again in display after a period of meticulous restoration. Composed of a series of detailed observations of the sculpture’s composition from several camera angles and vantage points, Antonioni continually refocuses to the shot of Moses’ opaque gaze – an image that is sublimely matched by the filmmaker’s own occluded, returned gaze as he examines the object of his attention through limpid, watery eyes. In addition to creating a thorough, meticulous, and deliberative objective study of the Renaissance sculpture’s robust physical form and timeless, universal beauty, Antonioni’s juxtaposition of his own weakened, aging frame against the larger-than-life sculpture of Moses creates an indelible, thoughtful, and poignant image on human frailty, transience, creative compromise, and the enduring legacy of – and mortal transcendence through – enlightened art.
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  • Michelangelo Antonioni – Blowup (1966)

    1961-1970DramaMichelangelo AntonioniThrillerUnited Kingdom

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    Jonathan Rosenbaum, Chicago Reader wrote:
    Michelangelo Antonioni’s sexy art-house hit of 1966, which played a substantial role in putting “swinging London” on the map, follows a day in the life of a young fashion photographer (David Hemmings) who discovers, after blowing up his photos of a couple glimpsed in a park, that he may have inadvertently uncovered a murder. Part erotic thriller (with significant glamorous roles played by Vanessa Redgrave, Sarah Miles, Verushka, and Jane Birkin), part exotic travelogue (featuring a Yardbirds concert, antiwar demonstrations, street mimes, one exuberant orgy, and a certain amount of pot), this is so ravishing to look at (the colors all seem newly minted) and pleasurable to follow (the enigmas are usually more teasing than worrying) that you’re likely to excuse the metaphysical pretensions–which become prevalent only at the very end–and go with the 60s flow, just as the original audiences did.Read More »

  • Michelangelo Antonioni – Zabriskie Point (1970)

    1961-1970ArthouseDramaMichelangelo AntonioniUSA

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    Zabriskie Point, director Michelangelo Antonioni’s only American film, is an unusual, visually stunning examination of youthful rebellion against the Establishment. The film, initially presented in quasi-documentary style, presents a group of college activists discussing key issues of their political agenda. Mark (Mark Frechette) steals an airplane and flies over a desert where he meets Daria (Daria Halprin). She is the pot-smoking secretary to businessman Lee Allen (Rod Taylor), while he is a rebel searching for a worthy cause. In the midst of the arid surroundings, Mark and Daria fall in love. Antonioni’s nonrealistic approach to American counterculture myths, his loose and sluggish narrative, and the dialogue (credited to Fred Gardner, Sam Shepard, Tonino Guerra, Clare Peploe, and Antonioni) caused Zabriskie Point to be poorly received when it was first released. The score features songs from Pink Floyd, The Grateful Dead, Kaleidoscope, The Rolling Stones, John Fahey, The Youngbloods and Patti Page.Read More »

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