In a bleak rundown industrial area a young woman, Giuliana, tries to cope with life. She's married to Ugo the manager of a local plant but is soon having an affair with one of his ... See full summary »
An epic portrait of late Sixties America, as seen through the portrayal of two of its children: anthropology student Daria (who's helping a property developer build a village in the Los ... See full summary »
In the suburbs of Rome, the translator Vittoria breaks her engagement with her boyfriend, the writer Ricardo, after a troubled night. Vittoria goes downtown to meet her mother, who is addicted to the stock market, and she meets the broker Piero on a day of crash. The materialist Piero and the absent Vittoria begin a monosyllabic relationship. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Piero's car is stolen and driven into a lake by a drunk. The lake is called "Laghetto" (small lake in Italian despite its big size) in the EUR Zone of Rome. At the background of the shot is a curtain-wall like skyscraper office building under construction. It is Palazzo Eni, future headquarters of Italian multinational oil and gas company ENI. The landmark building was under construction at the time of filming around 1961 and was completed in 1962. It is currently the third tallest building in Rome at 80 meters tall and has 22 floors. See more »
In many ways, "L'Eclisse" is the quintessential film from Antonioni's vintage period. Less beautiful than "L'Avventura", it compromises nothing in its exploration of human disaffection. The director himself has stated the humans are out of joint with their world, because of a kind of over-civilization, mainly through technology. And sexuality remains a final realm of mystery and contact with natural human physicality. For this reason, many characters in his films move from one sexual liaison to another, with no sense of any deep involvement: the attempt to connect in this way is futile. A real connection to the natural world has been lost. Humans have constructed a cold, efficient surface for the world which is difficult or impossible to penetrate. In an unconscious attempt to penetrate, to understand, characters seem continuously to grope and search.
"L'Eclisse" is especially memorable for its strange juxtaposition of the imagery of modern city life (in particular the Stock Exchange scenes; the car running into the river) with that of natural, or more primitive states (Monica Vitti's African dance; the fossilized plant). And the final sequence is almost overwhelming in its science-fiction-like presentation of a silent eclipsing of mankind in his own environment.
Vitti is the perfect Antonioni actor. She displays just enough emotion to realize the character, but is malleable enough for the director to illustrate his theme through her. Alain Delon never looked more handsome. He conveys the spiritually empty stock broker quite effectively.
Unfortunately, prints of this film are not in the best condition. It is time to restore it, along with "La Notte" to the technical standards they deserve.
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