Made of four short tales, linked by a story filmed by Wim Wenders. Taking place in Ferrara, Portofino, Aix en Provence and Paris, each story, which always a woman as the crux of the story, ... See full summary »
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 »
The movie director Niccolo has just been left by his wife. This gives him the idea of making a movie about women's relationships. He starts to search for a woman who can play the leading ... 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,
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 »
Cold, rain, and fog surround a plant in Ravenna. Factory waste pollutes local lakes; hulking anonymous ships pass or dock and raise quarantine flags. Guiliana, a housewife married to the ... See full summary »
The director Friedrich Monroe has trouble with finishing a silent b&w movie about Lisbon. He calls his friend, the sound engineer Phillip Winter, for help. As Winter arrives Lisbon weeks ... See full summary »
Made of four short tales, linked by a story filmed by Wim Wenders. Taking place in Ferrara, Portofino, Aix en Provence and Paris, each story, which always a woman as the crux of the story, invites to an inner travel, as Antonioni says "towards the true image of that absolute and mysterious reality that nobody will ever see". Written by
Oscar Esteban <firstname.lastname@example.org>
In order to obtain the covering insurance needed to put the film into production, Michelangelo Antonioni (who was still recovering from a severely debilitating stroke) had to agree to have a secondary director on staff, ready to take over from him at any time. His choice, Wim Wenders, even provided the prologue and epilogue for the film. See more »
Everything is ridiculous. Love is ridiculous. It has to be said. It's an illusion, a trap. But the trap is mysterious, so we all fall into it. Like stewed prunes!
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Failure of the critic - one more praising commentary
I first saw the movie a couple of years ago and was totally and utterly impressed but its sensuality. It is one of the most touching films I have ever seen, though it might appear a little bit pretentious and artificial - too much beautiful, if you will. Anyway, one thing is for sure - the camera man has done a great job - each picture deserves to be cut off the film and displayed as a separate peace of art, comparable to the Chirico's or Bernard Buffet's paintings.
The music forms a perfect background for the story, especially U2's one played between the first and the second novels at the beach scene. As for the casting - I cannot be objective since I like Sophie Marceau and Jean Renaue very much and cannot add more to the praising comments of others.
However, the very fact that many people (critics and those sophisticated in cinema) criticized the movie made me watch it with a more critical eye for the second time. No doubt, the setting is splendid and the casting is gorgeous. But this is somehow not enough to make a comprehensive and cohesive film. The second novel (when Sophie Marceau tells her story to Malcovic is somehow superficial and does not tell much about the motivations of the people involved - was it only about shooting a beautiful and sensual love scene with the naked Marceau or what?). Apparently, it does not add anything to the idea of the movie and even the husky voice of Malcovic is being unable to link it to the main plot.
Other stories are more justified and are really beautifully shot, which indulges many of the logic fallacies within them. The scene when Jean Reneau is overlooking the city through the huge window of his apartment on the top of the high building is absolutely incredible. The feeling of moist air and fine haze, which is being spread by the first "Ferrera" scene can literally be sensed through the screen. No doubt, Antonioni is a great master of shades and semi-shades. My favorite novel is the last one - the most romantic, deep and meaningful - I guess that it the most Antonioni-like one in the whole movie - almost a parable.Probably, the overall positive impression from the movie is mainly due to the last one shot somewhere in a small Ghotic Italian town, with its winding narrow streets and crooked pavements, fountains with the l'eau potable and monumental cathedrals... It was laconic but really touching.
I hope that my impressions and comments on the movie, however chaotic they are would motivate somebody to spend an evening watching it (it works better with the home theater, having somebody caring by your side, than in the movie theater). Enjoy.
I beg your pardon for the imperfect English and any possible misspellings
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