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A hunted man breaks into the castle at Oberwald to kill the Queen, but faints before doing so. He is Sebastian, the splitting image of the King who was assassinated on his wedding day. The ... See full summary »
Three 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 ... See full summary »
Anna Maria Ferrero,
A group of rich Italians head out on a yachting trip to a deserted volcanic island in the Mediterranean. When they are about to leave the island, they find Anna, the main character up to this point, has gone missing. Sandro, Anna's boyfriend, and Claudia, Anna's friend, try without success to find her. While looking for the missing friend, Claudia and Sandro develop an attraction for each other. When they get back to land, they continue the search with no success. Sandro and Claudia proceed to become lovers, and all but forget about the missing Anna. Written by
During filming, actress Lea Massari had a heart attack that put her in a coma for two days. See more »
During the sequence in which Sandro and the newspaper reporter cross a street, the shadows of the camera and the crew are clearly and prolongedly visible on the actors and on the street surface. See more »
Giulia is like Oscar Wilde. Give her all the luxuries and she will manage without the little necessities.
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Just looking over the other comments on this page gives an indication of how rich yet elusive this masterpiece of Antonioni is. The seemingly limitless number of interpretations and reactions the film elicits are testimony to its success in conveying its theme. For Antonioni, life is an "adventure" a quest for identity and meaning.
It is no accident that the initial group of characters seem to forget all about their friend who suddenly vanishes on a barren volcanic island. The unexpected absence seems to open a void of speculation, which the balance of the film proceeds to explore.
It should always be remembered that the VISUAL aspect in Antonioni is as important as the verbal; and, often, it is more important. The characters continuously gaze at a landscape, run their hands along a rock or some other surface as if trying to see or feel what is under the veneer. There is something almost Eastern in Antonioni's aesthetic. His films seem to view the material world as an enormous surface illusion. People, the director has said, have lost touch with their true origin, as part of the natural world. Large cities and technology have cut us off, and isolated us from nature. The modern individual is constantly in search of a primal connection. This explains the preoccupation with sex in some characters, something Antonioni calls "serial monogamy". Since sexuality, as Huxley has said, is the only remaining link to the mystery of life, humans turn more and more to it as their world achieves greater sophistication and technological advancement.
Were Antonioni not an artist, such speculations could be either dull or off-putting. But through a poetic use of image and spare dialogue, he creates a world of strangely compelling and sympathetic characters. The viewer is compelled along with them on their "avventura".
In addition, this film makes beautiful case for black and white cinematography.
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