antonioni film completo

La notte (1961), starring Jeanne Moreau and Marcello Mastroianni, and L'Eclisse (1962), starring Alain Delon, followed L'avventura. Spoiler warning This feature gives away the ending of the film; If it’s true that we take a particular interest in the culture of the era just before we were born then my enthusiasm for L’eclisse may be pre-determined. The poor still existed at that time, you recognized them by their clothes. Antonioni (1912–2007), whose fascination with mediated reality only deepened over time, was a restless experimenter with composition, camera movement, cutting, and storytelling. However, its release was a critical and commercial disaster. Penso che quelli su Antonioni siano i miei appunti più inutili in assoluto, sarebbe meglio dimenticarseli e andare subito a guardare i film, ma ormai li ho messi in fila, il lavoro è fatto, eccoli qui. It was, as he described it, a type of film noir in reverse—a disaffected socialite goes on a boat trip with haute bourgeois friends only to suddenly vanish on a small and remote island; she is never found. È l'ultimo film in bianco e nero girato da Antonioni; dopo due anni il regista volterà pagina girando Deserto rosso. These three films are commonly referred to as a trilogy because they are stylistically similar and all concerned with the alienation of man in the modern world. Michelangelo Antonioni Cavaliere di Gran Croce OMRI (/ænˌtoʊniˈoʊni/, Italian: [mikeˈlandʒelo antoˈnjoːni]; 29 September 1912 – 30 July 2007) was an Italian film director, screenwriter, editor, painter, and short story author. In fact she’s forgotten and evaporates from the movie’s and the characters’ consciousness. [3], Antonioni's spare style and purposeless characters, however, have not received universal acclaim. Distribuito da CEI INCOM - CD VIDEOSUONO. [3] Film historian David Bordwell writes that in Antonioni's films, "Vacations, parties and artistic pursuits are vain efforts to conceal the characters' lack of purpose and emotion. L'opera, la quinta del regista di Ferrara , ha riscosso un buon successo di critica tanto da essere premiata con il Leone d'argento alla 16ª Mostra internazionale d'arte cinematografica di Venezia . Later that year he enrolled at the Centro Sperimentale di Cinematografia to study film technique, but left after three months. È considerato uno di quei film che tutti i fotografi dovrebbero vedere.Grazie a questo film Michelangelo Antonioni ha vinto Palma d’oro al Festival di Cannes 1967 e ricevuto la candidatura agli Oscar del 1967 come miglior film e miglior regista. [12][13][14] Sandro, for instance, having sold out his artistic side for hollow work in the commercial world. He is best known for his "trilogy on modernity and its discontents"[1] — L'Avventura (1960), La Notte (1961), and L'Eclisse (1962) — as well as the English-language films Blowup (1966) and The Passenger (1975). Sexuality is reduced to casual seduction, enterprise to the pursuit of wealth at any cost. The picture could be seen as an erosion of values—how friends abandon their compatriots for a shallow affair that’s likely not going to last, but Antonioni is actually operating on a more complex level and embracing their relationship, not condemning it (which is usually the case with the torrid affairs he depicts). You could say that Antonioni was looking directly at the mysteries of the soul. The film would go on to win a Special Jury Prize “for its remarkable contribution towards the search for a new cinematic language.”. [1] All of these films star Monica Vitti, his lover during that period. [29] Stanley Kubrick listed La Notte as one of his ten favorite films in a 1963 Poll. La notte won the Golden Bear award at the 11th Berlin International Film Festival,[15] His first color film, Il deserto rosso (The Red Desert, 1964), deals with similar themes, and is sometimes considered the fourth film of the "trilogy". Drammatico, Italia, 1960. "[23] In a speech at Cannes about L'Avventura, Antonioni said that in the modern age of reason and science, mankind still lives by, "a rigid and stereotyped morality which all of us recognize as such and yet sustain out of cowardice and sheer laziness [...] We have examined those moral attitudes very carefully, we have dissected them and analyzed them to the point of exhaustion. European Film Academy Lifetime Achievement Award, Italian National Syndicate of Film Journalists, Italian National Syndicate of Film Journalists Silver Ribbon for Best Director, "What Antonioni's movies mean in the era of mindfulness and #MeToo", "Michelangelo Antonioni: Centenary of a Forgotten Giant", "Interview with Michelangelo Antonioni in Rome", "Michelangelo Antonioni: stately cinematic master or pretentious bore? Professione: reporter è un film di genere drammatico del 1974, diretto da Michelangelo Antonioni, con Jack Nicholson e Maria Schneider. With Jack Nicholson, Maria Schneider, Jenny Runacre, Ian Hendry. Distribuito da DINO DE LAURENTIIS - … "[22], Wexman describes Antonioni's perspective on the world as that of a "postreligious Marxist and existentialist intellectual. La notte è un film di genere drammatico del 1960, diretto da Michelangelo Antonioni, con Marcello Mastroianni e Jeanne Moreau. "[4] The New Yorker wrote that "Antonioni captured a new bourgeois society that shifted from physical to intellectual creation, from matter to abstraction, from things to images, and the crisis of personal identity and self-recognition that resulted," calling his 1960s collaborations with Monica Vitti "a crucial moment in the creation of cinematic modernism. A precocious violinist, he gave his first concert at the age of nine. There are people who do adapt, and others who can't manage, perhaps because they are too tied to ways of life that are by now out-of-date. [9] Antonioni returned to their use in L'avventura (1960), which became his first international success. He was the son of Elisabetta (née Roncagli) and Ismaele Antonioni. In Le Amiche (1955), Antonioni experimented with a radical new style: instead of a conventional narrative, he presented a series of apparently disconnected events, and he used long takes as part of his film making style. Eschewing conventional plot and narrative forms, the Italian modernist tapped into the European post-war zeitgeist by exploring notions of uncertainty, unease and ennui. Di Michelangelo Antonioni, Steven Soderbergh, Wong Kar Wai. I always had sympathy for young women of working-class families, even later when I attended university: they were more authentic and spontaneous. sfn error: no target: CITEREFBordwell_and_Thompson2002 (, sfn error: no target: CITEREFCameron_&_Wood1971 (, sfn error: no target: CITEREFEcho_and_Leefeld1977 (. While he had made five previous movies, 1957’s “Il Grido” being the most essential of the bunch, Italian filmmaker Michelangelo Antonioni’s career didn’t really begin in earnest until a May 1960 evening at the Cannes Film Festival where his latest film, “L’Avventura,” was met with boos, exaggerated yawns, loud jeers, and even derisive laughter. When Rome was liberated by the Allies, the film stock was transferred to the Fascist "Republic of Salò" and could not be recovered and edited until 1947 (the complete footage was never retrieved). [8], In 1942, Antonioni co-wrote A Pilot Returns with Roberto Rossellini and worked as assistant director on Enrico Fulchignoni's I due Foscari. But he does. I film di Antonioni che ho visto: Gente del Po (1947, documentario) *** Cronaca di un … [19] However, it was not well-received internationally; in America, for example, Roger Ebert claimed that it was neither erotic nor about eroticism. I was born in the mid-1960s, only a couple of months after Michelangelo Antonioni had completed a cycle of four films which made waves in the international film scene. As her memory fades into the background, her boyfriend and best friend go from concerned and investigative to eventually enamored of each other and tangled in their own troubled and tortured love affair. Orson Welles regretted the Italian director's use of the long take: "I don't like to dwell on things. But each film had a voyage, albeit one where characters were inevitably trapped in an intricate psychosis of indifference, ambivalence and weighted silences. Antonioni received numerous awards and nominations throughout his career, including the Cannes Film Festival Jury Prize (1960, 1962), Palme d'Or (1966), and 35th Anniversary Prize (1982); the Venice Film Festival Silver Lion (1955), Golden Lion (1964), FIPRESCI Prize (1964, 1995), and Pietro Bianchi Award (1998); the Italian National Syndicate of Film Journalists Silver Ribbon eight times; and an honorary Academy Award in 1995. Although he abandoned the violin with the discovery of cinema in his teens, drawing would remain a lifelong passion. Anticipating Hitchcock’s daring protagonist switch before “Psycho,” as aforementioned, Antonioni’s sixth film was a breakthrough game-changer for the filmmaker and he would never look back. The publicity for the film made much play with the way Antonioni had instructed his art director, Piero Poletto, in certain sequences, to apply coverings of paint to the living landscape, and to certain objects (like the displayed fruit on the cart); yet the contemporary viewer, half a century later, is struck by how little the film’s total aesthetic effect seems to owe to such overt stylization. Le amiche è un film del 1955 diretto da Michelangelo Antonioni, liberamente tratto dal romanzo Tra donne sole di Cesare Pavese. He was subsequently drafted into the army. It was presented to him by Jack Nicholson. Antonioni lay in state at City Hall in Rome where a large screen showed black-and-white footage of him among his film sets and behind-the-scenes. Durata 140 min. It's too simplistic to say—as many people have done—that I am condemning the inhuman industrial world which oppresses the individuals and leads them to neurosis. His films have been described as "enigmatic and intricate mood pieces"[2] that feature elusive plots, striking visual composition, and a preoccupation with modern landscapes. A product of European post-war cinema, Antonioni was described as a modernist in that he dared to push cinematic language forward, but he also attempted to express anachronistic morals and emotions (he sympathizes with the lovers in “L’Avventura” even if by the codes of modern society, they are backstabbers). I invented stories for them. My parents gave me free rein to do what I wanted: with my brother, we spent most of our time playing outside with friends. [17] The documentary had its first showing in China on 25 November 2004 in Beijing with a film festival hosted by the Beijing Film Academy to honor the works of Michelangelo Antonioni. And then she leaves and you go on looking at the road after she's gone. Un sentimento indecifrabile e indefinibile. The soundtrack featured music from Pink Floyd (who wrote new music specifically for the film), the Grateful Dead and the Rolling Stones. "[25] Richard Brody stated that his films explore "the way that new methods of communication—mainly the mass media, but also the abstractions of high-tech industry, architecture, music, politics, and even fashion—have a feedback effect on the educated, white-collar thinkers who create them," but noted that "he wasn’t nostalgic about the premodern. Yet the film is not a condemnation of their putatively shallow behavior—instead it’s an exploration of the inexplicable nature of love, moral ambivalence, and fragility of modern behavior. Interview with Gideon Bachman, in Film Quarterly (Berkeley), Summer 1983. It starred David Hemmings and Vanessa Redgrave. In 1972, in between Zabriskie Point and The Passenger, Antonioni was invited by the Mao government of the People's Republic of China to visit the country. [6], As a child, Antonioni was fond of drawing and music. L'Avventura di Michelangelo Antonioni - 1960 - 144' completo Chatman, Seymour Benjamin, and Paul Duncan. Antonioni died at age 94 on 30 July 2007 in Rome, the same day that another renowned film director, Ingmar Bergman, also died. I met Antonioni three years ago in Taormina at a film festival. Grandissimo film, il più significativo di Antonioni insieme all' Avventura. Maybe with last week’s belated Criterion Collection release of “La Notte,” perhaps the most sensually striking of all his modern tetralogy, the time is now. Il grido (The Outcry, 1957) was a return to working class stories, depicting a factory worker and his daughter. Career-wise, Antonioni’s Red Desert is emblematic of his 1960-1964 period, but it also represents a transition. Per Umberto Eco, con L’avventura eLa notte, i… Because just like Antonioni’s similarly themed explorations that followed, it’s a film that almost never provides satisfying or easy answers to the mysteries of human behavior. Antonioni had made a mysterious, sparse and opaque film that would define the rest of his career—an unusual movie, like many others that would follow, where “nothing happens,” at least in the estimation of his harshest critics. Distribuito da CIC - L'UNITA' VIDEO The first, Blowup (1966),[16] set in Swinging London, was a major international success. A “noir in reverse,” “L’Avventura” is almost two different films in one: an austere, haunting and strangely disquieting first half where a socialite goes missing on a remote island while on a boat trip with her well-to-do friends, its chilly environment, as usual, is the perfect setting for the disaffected psychology of the characters (a fundamental element of all subsequent Antonioni films). American director Martin Scorsese paid tribute to Antonioni following his death in 2007, stating that his films "posed mysteries – or rather the mystery, of who we are, what we are, to each other, to ourselves, to time. Il grido è un film di genere drammatico del 1957, diretto da Michelangelo Antonioni, con Alida Valli e Steve Cochran. Con Gabriele Ferzetti, Monica Vitti, Lea Massari, Renzo Ricci, Dominique Blanchar, Dorothy De Poliolo. —Antonioni, interviewed about Red Desert (1964). In 1940, Antonioni moved to Rome, where he worked for Cinema, the official Fascist film magazine edited by Vittorio Mussolini. "[4] The Guardian described him as, "in essence, a director of extraordinary sequences," and advised viewers to "forget plotting, characters or dialogue, his import is conveyed in absolutely formal terms. Interview with F. Tomasulo, in On Film (Los Angeles), Fall 1984. When they are about to leave the island, they find Anna, the main character up to this point, has gone missing. 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