At Zabriskie Point, United States' lowest point, two perfect strangers meet; an undergraduate dreamer and a young hippie student who start off an unrestrained romance, making love on the dusty terrain.
A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
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
Despite its critical mauling at its first showing at the Cannes Film Festival, two years later "L'Avventura" was declared by Sight and Sound as the second best film of all time, right behind Citizen Kane (1941). 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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The first time I watched it, it seemed to wash over me without affecting me in anyway. Later on(and I've read this in other people's comments here as well) I found images and dialogue from the movie creeping into my subconscious; entire dreams would take place upon the island where Anna goes missing(often in monochrome), or I'd start to compare real life events to those that occur during the film. Did Antonioni plant subliminal messages within the movie? Probably not. It's more likely the masterful pace he employs here, coupled with the busy, deep cinematography is the cause of this. Notice how the backgrounds NEVER go out of focus, no matter how much is going on within the frame. Check out the scene about an hour and ten minutes in, where Sandro and the old man are talking in the middle of an extremely busy street; nothing blurs or goes out of focus, even when a tram comes in and out of the shot, nothing loses it's perspective, and as the scene ends and they walk deep into the shot we can see way past them and far, far into the distance.
This seems to be why the film has such a deep affect on the subconscious. The characters are deliberately shallow and are placed at the very foreground of every shot, yet the backgrounds are rich tableaux bustling with life. In the scenes on the island where Anna disappears, we see the main characters always in shot, yet in the background there is a feeling that something strange within nature itself is going on. The darkening of the clouds, the sudden mist upon the water, the rocks falling to the sea, even the sudden appearance of the old hermit character, all give a certain unease.
There's also the haunting feeling of the film, as Anna's friends begin, almost immediately to forget about her. Soon, they don't seem to care a jot about her, and neither, in a sense, do we. It's this feeling of loose ends and guilt on our part(for joining her so called 'friends' in forgetting about her so quickly) that leaves the deepest impression. The characters in this film are so morally shallow(the ending bears this out) yet they are the reason this film leaves such a strong impression on those who watch it, and who become captivated by it.
I cant recommend this film to everyone because I know that the Hollywood Blockbuster has reduced most modern cinema-goers attention spans to almost zero. But if you fancy a challenge, or merely wish to luxuriate in classic cinema.....begin here.
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