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Beyond the Clouds (1995)

Al di là delle nuvole (original title)
Not Rated | | Drama, Romance | 27 October 1995 (Italy)
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 »

Writers:

Tonino Guerra, Michelangelo Antonioni (screenplay) | 3 more credits »

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3 wins & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
Fanny Ardant ... Patricia
Chiara Caselli ... Mistress
Irène Jacob ... The Girl
John Malkovich ... The Director
Sophie Marceau ... The Girl
Vincent Perez ... Niccolo
Jean Reno ... Carlo
Kim Rossi Stuart ... Silvano (as Kim Rossi-Stuart)
Inés Sastre ... Carmen (as Ines Sastre)
Peter Weller ... Husband
Marcello Mastroianni ... The Man of All Vices
Jeanne Moreau ... Friend
Enrica Antonioni Enrica Antonioni ... Boutique Manager
Carine Angeli Carine Angeli
Alessandra Bonarotta Alessandra Bonarotta ... (as Alessandra Bonarota)
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Storyline

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 <oscar-esteban@p4.virtual.encomix.com>

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France | Germany | Italy

Language:

French | English | Italian

Release Date:

27 October 1995 (Italy) See more »

Also Known As:

Más allá de las nubes See more »

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Box Office

Gross USA:

$30,890, 12 December 1999
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Stereo

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

The opening fogbound scenes are a reminder of a similar passage in Antonioni's own Identification of a Woman (1982). See more »

Quotes

Patricia: [translation] 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!
See more »

Alternate Versions

There are two slightly different versions of the movie, the difference ocurring at the end. The US version of 'Beyond The Clouds' (Al di là delle nuvole, 1995) lacks the complete voice-over narration by John Malkovich's character at the end of the movie, from the moment he enters the hotel until the last image, before going to credits. The only line heard is: 'The director's profession is very peculiar...'; whereas the European cut of the movie contains a longer narration, also starting with the same line, but expanding until the last image before fading to credits. The voice-over talks about how the director's profession is to find images, only to discover another image beneath the previous one which is more faithful to the truth, and then another, and another, until you reach the one which equals reality, the one no one will ever see. Both versions are equally powerful in their own right, though it's interesting to note such a minor difference was made in the first place. Both versions are available, the US version was released in DVD, and the European version is available in VHS only. See more »

Connections

Featured in To Make a Film Is to Be Alive (1995) See more »

Soundtracks

Le Vase
Written and performed by Laurent Petitgand
See more »

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User Reviews

 
As great as anything the man has done; requires repeat viewings
16 May 2000 | by Aw-komonSee all my reviews

Here's another Antonioni that will be rediscovered again and again as soon as it comes out on tape or DVD. I saw it a few months ago when it ran for the first time (even in metropolitan movie capital L.A.!)for a couple of weeks and then disappeared (art house audiences seem to have opted for their own special territory, where older favorites like Antonioni and Resnais are only welcome as occasional curiosities).

At first I was disappointed, thought the pace to be unbearably boring, and that the man had lost a chance (for years Antonioni had found it difficult to find financing)at an advanced age to add another masterpiece to his canon; but knowing Antonioni for what he was and how I had at first reacted to Blow-Up and the Passenger, I refused to pass judgment until I had seen the film again. I went back the next day and I should not have been surprised that the film kept pulling me in, making me aware of things I had thought about and lost track of throughout my life, driving home, in a contemporary setting, points exposed for the first time some forty years ago in 'L'Aventurra,' forming an environment of subtle moods so characteristcally and fascinatingly alienated in tone (and quite comedic actually) that I couldn't get enough. The scene with Malkovich sitting on the fancy colored swings on the windswept beach, with the weather so beautifully silver skied, and the Eno/U2 track in the background flowing through at just its rhythm, had been my favorite; it still was, but now the whole film was just as great! What a strange phenomenon, the complex simplicity or the invisible complex which Antonioni's eye alone seems to be able to pick up and communicate. The odd thing is, though it does look at first glance like a softcore porno of some kind and it does feature plenty of sex and the maddeningly gorgeous Sophie Marceau and plently of other international stars to distract you, this film is unmistakably Antonioni's to its core, but you will not sense to what a profound extent, until you have seen it a few times and got used to its rhythm. For example, it is quite a funny film with a deep sense of humor, something I did not notice at first, but was turned on to by another critic, and noticed to much delight on further viewings (4 before they pulled it and would've gone back for more). If this film had been promoted right and people guided to a certain extent as to how to approach it, I have no doubt it would have succeeded on the art house circuit like most of Antonioni's '60s films. But the '60s are no more and the film will have to find its audience on the small screen where half its beauty will be lost even in a letterboxed DVD version (if and when it's released). I urge all film nuts general or esoteric to see 'Beyond the Clouds' and add a piece of magic to the tragic.


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