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.
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 »
In Milan, after visiting dear friend Tommaso Garani that is terminal in a hospital, the writer Giovanni Pontano goes to a party for the release of his last book, and his wife Lidia Pontano visits the place where she lived many years ago. In the night, they go to a night-club, and later to a party in the mansion of the tycoon Mr. Gherardini. Along the night, Giovanni flirts with Valentina Gherardini, the daughter of the host, and then he receives a proposal to work for him in the area of communication and write the history of his company. Meanwhile, Lidia flirts with the playboy Roberto.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
At approximately 108 minutes in, after Lidia has dried-off in Valentina's room, discussing vices as she takes her first sip of whisky, Lidia asks Valentina, "How old are you?". "Diciotto e molti, molti mesi", answers Valentina ("Eighteen and many, many months"). The subtitles say "Twenty-two". See more »
Boom visible in shadow form as Giovanni leaves Tomasso's hospital room and walks down the corridor at 16mins or so into the film. See more »
So as I was saying, my friend, it's absurd to speak of wealth now. No one's wealthy anymore. But should anyone still think of becoming rich, my only advice would be, "Don't worry about the money." I've always looked upon my businesses as works of art. Whatever profit I earned was of practically no concern to me. The important thing is to create something solid; something to be remembered. What sustains a writer - you for instance - is certainly not the idea of profit but a sense of necessity. ...
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Challenging and emotionally muted on 1st viewing, I still found this largely a very interesting portrait of a bourgeois marriage crumbling, observed during one afternoon and night.
The couple visit a seemingly dying friend in the hospital, attend a book signing for the husband's new novel, stop at a nightclub where they barely even react to an erotic floor show, and then head to a party for a rich industrialist who is celebrating the first win by his new racehorse, Both Marcello Mastroianni and Jeanne Moreau do terrific work as the deadened and estranged couple. He no longer even identifies with his own writing, feeling it's just a product, like that made by the industrialist. He's even lost his sense of lust. She no longer feels love for him, and seems locked in loneliness and depression. It's a tough movie to take, grim, humorless, almost as dead feeling as its leads, but that would seem to be the point.
My only problem, as I've occasionally had with Antonioni, is that well before the end I felt I had gotten these themes clearly and powerfully, and there was, after that, a certain sense of hammering home ideas that had already been expressed beautifully with a lighter touch (there's a key reveal near the end that I saw coming a mile off). But the images (of course) are striking and memorable, as are the performances, and the sad gloom that hovers over this world of people who seem to have it all, and yet feel so little.
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