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antonioni film completo

Identificazione di una donna (Identification of a Woman, 1982), filmed in Italy, deals one more time with the recursive subjects of his Italian trilogy. [29] Stanley Kubrick listed La Notte as one of his ten favorite films in a 1963 Poll. The short film's episodes are framed by dreamy paintings and the song "Michelangelo … Curiously enough, our friends were invariably proletarian, and poor. As Wenders has explained, Antonioni rejected almost all the material filmed by Wenders during the editing, except for a few short interludes. My father also was a good man. It is based on Jean Cocteau's play L'Aigle à deux têtes (The Eagle With Two Heads). 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. [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. Orson Welles regretted the Italian director's use of the long take: "I don't like to dwell on things. The second film was Zabriskie Point (1970), his first set in America and with a counterculture theme. However, he continued to make films, including Beyond the Clouds (1995), for which Wim Wenders filmed some scenes. 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). Durata 102 minuti. 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. Chatman, Seymour Benjamin, and Paul Duncan. 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 . Grandissimo film, il più significativo di Antonioni insieme all' Avventura. "[23] Antonioni is also noted for exploiting colour as a significant expressive element in his later works, especially in Il deserto rosso, his first colour film. Although he abandoned the violin with the discovery of cinema in his teens, drawing would remain a lifelong passion. In 1940, Antonioni moved to Rome, where he worked for Cinema, the official Fascist film magazine edited by Vittorio Mussolini. Film streaming gratis Links Mixdrop Supervideo Embed Fasturl Doodstream Un sentimento indecifrabile e indefinibile. [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. The filmmaker would be awarded a Lifetime Achievement Oscar in 1995, two years after the same honor was bestowed on his counterpart Federico Fellini. “Nothing happens, man; it’s just a lot of people going nowhere,” Mark Frechette, one of Antonioni’s actors, once said of his films. Ignorant in architecture, I constructed buildings and streets crammed with little figures. But even in the way they wore their clothes, there was a fantasy, a frankness that made me prefer them to boys of bourgeois families. As such, “L’Avventura,” is a bold but apropos title, forcing us to think of this type of affair as an adventure that may not lead anywhere or even mean very much, in its exploration of the complexities of desire, longing and connection. Terzo film (assieme a L'avventura e La notte) di Antonioni sulla cosiddetta incomunicabilità, resa attraverso interminabili silenzi e significativi studi psicologici dei protagonisti. Esemplare la rappresentazione della natura mai così protagonista: Aldo, con la sua giacca sdrucita, con la sua bambina che gli trotterella dietro, cammina nelle terre del Po, fra i filari, sull'argine, nel fango, lontano ci sono i paesi. "I have never drawn, even as a child, either puppets or silhouettes but rather facades of houses and gates. Antonioni's final film, made when he was in his 90s, was a segment of the anthology film Eros (2004), entitled "Il filo pericoloso delle cose" ("The Dangerous Thread of Things"). Critica e impressioni. Months later, the statuette was stolen by burglars and had to be replaced. A precocious violinist, he gave his first concert at the age of nine. 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. 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. And then she leaves and you go on looking at the road after she's gone. "[3] American directors Francis Ford Coppola and Brian De Palma paid homage to Antonioni in their own films. In 1943, he travelled to France to assist Marcel Carné on Les visiteurs du soir and then began a series of short films with Gente del Po (1943), a story of poor fishermen of the Po valley. A key text of swinging London, Michaelangelo Antonioni’s Palme d’Or winning film was released in 1967. Here’s what we said about it at the time Published: 16 Mar 2017 Haunted by a sense of instability and impermanence, his work defined a cinema of possibilities. La notte (1961), starring Jeanne Moreau and Marcello Mastroianni, and L'Eclisse (1962), starring Alain Delon, followed L'avventura. In seguito alla proiezione del film, il regista Roberto Rossellinidichiarò: “L’avventura è il più bel film mai presentato a un festival”. Durata 102 minuti. [3] Film historian Virginia Wright Wexman notes the slowness of his camera and the absence of frequent cuts, stating that "he forces our full attention by continuing the shot long after others would cut away. Blow Up è un film del 1966 di Michelangelo Antonioni, un cult non solo da parte degli appassionati di cinema, ma anche di fotografia. L'avventura - Un film di Michelangelo Antonioni. Directed by Michelangelo Antonioni. "[27], Bordwell explains that Antonioni was extremely influential on subsequent art films: "More than any other director, he encouraged filmmakers to explore elliptical and open-ended narrative. I introduced myself and told him that I adored his movies, his contributions to film, because he was the first guy who really started making films about the reality of the vacuity between people, the difficulty in traversing this space between lovers in modern day ... and he never gives you an answer, Antonioni—that's the beautiful thing. Con Christopher Bucholz, Robert Downey jr, Gong Li. With Antonioni’s [films], it’s the exact opposite.” Spartan widescreen images were always clear, but the meaning was constantly evolving even as the film ended. "[32], Italian film director and screenwriter (1912-2007). 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. 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. With Jack Nicholson, Maria Schneider, Jenny Runacre, Ian Hendry. And so it was that the day after the Cannes premiere, forty-odd artists from the festival, including Roberto Rossellini had written to Antonioni praising his daring. L'Avventura di Michelangelo Antonioni - 1960 - 144' completo Il primo dei film che andremo ad analizzare è L’avventura, del 1960. 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. 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. These films were neorealist in style, being semi-documentary studies of the lives of ordinary people. 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). At the Cannes Film Festival it received a mixture of cheers[10] and boos,[11] but the film was popular in art house cinemas around the world. During the war Antonioni survived being condemned to death as a member of the Italian resistance. But he does. 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. Born into a working-class family, he succeeded in obtaining a comfortable position through evening courses and hard work. 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. CINEMA Si va da Cronaca di un amore di Michelangelo Antonioni a Goodfellas di Martin Scorsese. Each of these stories is about social alienation.[9]. Perhaps emboldened by this affirmation, Antonioni would continue with what he described as works of searching; intricate and enigmatic mood pieces centering on disaffected, spiritually adrift characters suffering the emotional sickness of ennui, alienation, apathy and existential crises. "[28], Film director Akira Kurosawa considered Antonioni one of the most interesting filmmakers. Antonioni's final film, made when he was in his 90s, was a segment of the anthology film Eros (2004), entitled "Il filo pericoloso delle cose" ("The Dangerous Thread of Things"). When they are about to leave the island, they find Anna, the main character up to this point, has gone missing. Continuando nella sua analisi del disfacimento della borghesia italiana, Antonioni compone il secondo capitolo della sua trilogia sull’incomunicabilità (“La notte”, “L’eclisse” e “Deserto rosso”) con la “musa” e allora compagna di vita Monica Vitti…. 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. And you think, 'Well, he's not going to carry that woman all the way up that road.' Drammatico, Italia, 1960. 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. Da Utoszezon (Late season) di Zoltán Fabri a Sedotta e Abbandona [...] Leggi l'articolo completo: A Venezia Classici tredici film d'autore...→ #Michelangelo Antonioni [1] All of these films star Monica Vitti, his lover during that period. I always had sympathy for young women of working-class families, even later when I attended university: they were more authentic and spontaneous. He gives you a full shot of somebody walking down a road. The short film's episodes are framed by dreamy paintings and the song "Michelangelo Antonioni", composed and sung by Caetano Veloso. Antonioni (1912–2007), whose fascination with mediated reality only deepened over time, was a restless experimenter with composition, camera movement, cutting, and storytelling. It's one of the reasons I'm so bored with Antonioni - the belief that, because a shot is good, it's going to get better if you keep looking at it. Interview with Gideon Bachman, in Film Quarterly (Berkeley), Summer 1983. —Antonioni, interviewed about Red Desert (1964). Sandro, for instance, having sold out his artistic side for hollow work in the commercial world. Ingmar Bergman stated in 2002 that while he considered the Antonioni films Blowup and La notte masterpieces, he found the other films boring and noted that he had never understood why Antonioni was held in such esteem. Il grido (The Outcry, 1957) was a return to working class stories, depicting a factory worker and his daughter. 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. 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My intention ... was to translate the poetry of the world, in which even factories can be beautiful. ", "From Acting to Directing, Cigars to Jazz, Actor Peter Weller Is a Man of Many Passions", Society of Motion Picture and Television Engineers, David di Donatello Award for Best Director, National Society of Film Critics Award for Best Director, https://en.wikipedia.org/w/index.php?title=Michelangelo_Antonioni&oldid=993059132, Centro Sperimentale di Cinematografia alumni, Short description is different from Wikidata, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Cannes Film Festival Jury Prize (1962), for, Cannes Film Festival 35th Anniversary Prize (1982), for, David di Donatello Luchino Visconti Award (1976), Giffoni Film Festival Golden Career Gryphon (1995), Italian National Syndicate of Film Journalists Silver Ribbon for Best Documentary (1950), for, Italian National Syndicate of Film Journalists Special Silver Ribbon (1951), for, Italian National Syndicate of Film Journalists Silver Ribbon for Best foreign film Director (1968), for, Kansas City Film Critics Circle Award for Best Director (1968), for, National Society of Film Critics Award for Best Director (2001), for, Valladolid International Film Festival FIPRESCI Prize for Short Film (2004), for, Venice Film Festival FIPRESCI Prize (1964), for, Venice Film Festival Career Golden Lion (1983), Venice Film Festival FIPRESCI Prize (1995), for, Venice Film Festival Pietro Bianchi Award (1998), This page was last edited on 8 December 2020, at 16:04. Antonioni died at age 94 on 30 July 2007 in Rome, the same day that another renowned film director, Ingmar Bergman, also died. In fact she’s forgotten and evaporates from the movie’s and the characters’ consciousness. "[2] Stephen Dalton of the British Film Institute described Antonioni's influential visual hallmarks as "extremely long takes, striking modern architecture, painterly use of colour, [and] tiny human figures adrift in empty landscapes," noting similarities to the "empty urban dreamscapes" of surrealist painter Giorgio de Chirico. "[31], American actor Peter Weller, whom Antonioni directed in Beyond the Clouds, explained in a 1996 interview: "There is no director living except maybe Kurosawa, Bergman, or Antonioni that I would fall down and do anything for. But each film had a voyage, albeit one where characters were inevitably trapped in an intricate psychosis of indifference, ambivalence and weighted silences. Antonioni è stato spesso criticato per una certa presunzione mostrata nella realizzazione di questo film: per un verso nel merito dei temi trattati, per la spavalderia e il pragmatismo con cui li ha risolti; per l’altro verso è stata sottolineata la distanza tra le origini provinciali del regista e la grandeur dell’ambientazione e della storia. The soundtrack featured music from Pink Floyd (who wrote new music specifically for the film), the Grateful Dead and the Rolling Stones. For Antonioni, eroticism is an emotional tool to mask the characters shortcomings. Eschewing conventional plot and narrative forms, the Italian modernist tapped into the European post-war zeitgeist by exploring notions of uncertainty, unease and ennui. You could say that Antonioni was looking directly at the mysteries of the soul. My mother ... was a warm and intelligent woman who had been a laborer in her youth. 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). And while class was always a theme to a certain extent, from the socialites in “Les Amiches,” to the vagabond father in “Il Grido,” to the affluent couples in his “alienation trilogy,” his chief concern was more with the fundamental discontent that seems to be a byproduct of wealth, not wealth itself. Although it dealt with the challenging theme of the impossibility of objective standards and the ever-doubtable truth of memory, it was a successful and popular hit with audiences, no doubt helped by its sex scenes, which were explicit for the time. [8], In 1942, Antonioni co-wrote A Pilot Returns with Roberto Rossellini and worked as assistant director on Enrico Fulchignoni's I due Foscari. However, Antonioni was fired a few months afterward. A group of rich Italians head out on a yachting trip to a deserted volcanic island in the Mediterranean. "[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. 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). 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? A frustrated war correspondent, unable to find the war he's been asked to cover, takes the risky path of coopting the identity of a dead arms dealer acquaintance. He was subsequently drafted into the army. I invented stories for them. [5] The director explained to Italian film critic Aldo Tassone: My childhood was a happy one. Durata 122 minuti. It was presented to him by Jack Nicholson. 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). The latter will always be the greater household name in cinema, but with Antonioni’s contributions to the form and the dismantling of conventional grammar perhaps not getting their due appreciation from any but the most rarefied of cinephile circles over the years, we’d argue a wider reassessment can’t be far behind. The second to last film Antonioni would make with Vitti is the director’s first in color, and he makes striking use of the new tool, framing his urban landscape at a harsh, cold distance. Distribuito da DINO DE LAURENTIIS - … Con Gabriele Ferzetti, Monica Vitti, Lea Massari, Renzo Ricci, Dominique Blanchar, Dorothy De Poliolo. Distribuito da CIC - L'UNITA' VIDEO Previously, he had been nominated for Academy Awards for Best Director and Best Screenplay for Blowup. È l'ultimo film in bianco e nero girato da Antonioni; dopo due anni il regista volterà pagina girando Deserto rosso. Distribuito da CEI INCOM - CD VIDEOSUONO. Blow Up di Michelangelo Antonioni ha cambiato inevitabilmente la storia del cinema italiano e non solo, questo perché ha portato delle innovazioni non di poco conto.. Blow Up. The line and curves of factories and their chimneys can be more beautiful than the outline of trees, which we are already too accustomed to seeing. 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. [19] However, it was not well-received internationally; in America, for example, Roger Ebert claimed that it was neither erotic nor about eroticism. "[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. Antonioni’s preoccupation with this cool, sometimes dispassionate “exquisite alienation” would often take a similar form; an austere but beautiful visual majesty, an architectural enormity that often oppressed the psychology of his characters within their environment (environment being everything to the filmmaker) and temps mort [dead time], those moments after the scene’s action really ends, when the camera’s gaze lingers, soaking up the inexpressible. However, its release was a critical and commercial disaster. 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". [3] His work would substantially influence subsequent art cinema.[4]. 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.

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