antonioni film completo

A precocious violinist, he gave his first concert at the age of nine. Although he abandoned the violin with the discovery of cinema in his teens, drawing would remain a lifelong passion. [9] Antonioni returned to their use in L'avventura (1960), which became his first international success. Directed by Michelangelo Antonioni. However, its release was a critical and commercial disaster. The short film's episodes are framed by dreamy paintings and the song "Michelangelo Antonioni", composed and sung by Caetano Veloso. Durata 140 min. Il primo dei film che andremo ad analizzare è L’avventura, del 1960. —Antonioni, interviewed about Red Desert (1964). 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, Michelangelo, “Il ‘big bang’ della nascita di un film,” in Cinema Nuovo (Bari), December 1981. 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. Distribuito da CIC - L'UNITA' VIDEO 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. Da Utoszezon (Late season) di Zoltán Fabri a Sedotta e Abbandona [...] Leggi l'articolo completo: A Venezia Classici tredici film d'autore...→ #Michelangelo Antonioni He made the documentary Chung Kuo, Cina, but it was severely denounced by the Chinese authorities as "anti-Chinese" and "anti-communist". "[22] AllMovie stated that "his films — a seminal body of enigmatic and intricate mood pieces — rejected action in favor of contemplation, championing image and design over character and story. It was presented to him by Jack Nicholson. Haunted by a sense of instability and impermanence, his work defined a cinema of possibilities. 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. "[26] Critic Roland Barthes wrote that Antonioni's art "consists in always leaving the road of meaning open and as if undecided," and claimed that his approach "is not that of a historian, a politician or a moralist, but rather that of a utopian whose perception is seeking to pinpoint the new world, because he is eager for this world and already wants to be part of it. Drammatico, Italia, 1960. 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. He was the son of Elisabetta (née Roncagli) and Ismaele Antonioni. L'avventura - Un film di Michelangelo Antonioni. It is based on Jean Cocteau's play L'Aigle à deux têtes (The Eagle With Two Heads). And then she leaves and you go on looking at the road after she's gone. However, he continued to make films, including Beyond the Clouds (1995), for which Wim Wenders filmed some scenes. [30] Miklós Jancsó considers Antonioni as his master. Chatman, Seymour Benjamin, and Paul Duncan. My mother ... was a warm and intelligent woman who had been a laborer in her youth. With Jack Nicholson, Maria Schneider, Jenny Runacre, Ian Hendry. I film di Antonioni che ho visto: Gente del Po (1947, documentario) *** Cronaca di un … 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. With this wrong finally righted (we’re sure it was a rights thing but “La Notte” belonged in the collection a decade ago), we decided to take a look at the essentials of a sometimes overlooked titan of cinema: Michelangelo Antonioni. Distribuito da CEI INCOM - CD VIDEOSUONO. These films were neorealist in style, being semi-documentary studies of the lives of ordinary people. 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). [20] The U.S. DVD release of the film includes another 2004 short film by Antonioni, Lo sguardo di Michelangelo (The Gaze of Michelangelo). Filmmaker, novelist, and screenwriter Alain Robbe-Grillet (he wrote Alain Resnais‘ masterwork, “Last Year at Marienbad“) once said, describing Antonioni’s work with a comparable auteur, “In a Hitchcock film, the meaning of what you see on the screen is constantly delayed, but at the end of the film you understand everything. Professione: reporter è un film di genere drammatico del 1974, diretto da Michelangelo Antonioni, con Jack Nicholson e Maria Schneider. 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. Interview with Gideon Bachman, in Film Quarterly (Berkeley), Summer 1983. I always had sympathy for young women of working-class families, even later when I attended university: they were more authentic and spontaneous. Career-wise, Antonioni’s Red Desert is emblematic of his 1960-1964 period, but it also represents a transition. You could say that Antonioni was looking directly at the mysteries of the soul. The poor still existed at that time, you recognized them by their clothes. 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. 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). La notte (1961), starring Jeanne Moreau and Marcello Mastroianni, and L'Eclisse (1962), starring Alain Delon, followed L'avventura. 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 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. 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. [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. Uscito nel 1966 il film è il primo della trilogia americana del regista italiano. Born into a working-class family, he succeeded in obtaining a comfortable position through evening courses and hard work. 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. [18] They shared the FIPRESCI Prize at the Venice Film Festival with Cyclo. He gives you a full shot of somebody walking down a road. 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. A group of rich Italians head out on a yachting trip to a deserted volcanic island in the Mediterranean. 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. Consigli per la visione +16. "I have never drawn, even as a child, either puppets or silhouettes but rather facades of houses and gates. 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…. 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"). [19] However, it was not well-received internationally; in America, for example, Roger Ebert claimed that it was neither erotic nor about eroticism. Quando deciderete di andare a vedere questo film, accettate un consiglio e fate così: pagate il biglietto e per i primi trenta minuti statevene tranquillamente fuori dal cinema. I met Antonioni three years ago in Taormina at a film festival. Antonioni was born into a prosperous family of landowners in Ferrara, Emilia Romagna, in northern Italy. Il grido (The Outcry, 1957) was a return to working class stories, depicting a factory worker and his daughter. When they are about to leave the island, they find Anna, the main character up to this point, has gone missing. 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). "[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. 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. Later that year he enrolled at the Centro Sperimentale di Cinematografia to study film technique, but left after three months. Durata 102 minuti. Interview with F. Tomasulo, in On Film (Los Angeles), Fall 1984. 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. And you think, 'Well, he's not going to carry that woman all the way up that road.' ", Nine years later he expressed a similar attitude in an interview, saying that he loathed the word 'morality': "When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them. Sexuality is reduced to casual seduction, enterprise to the pursuit of wealth at any cost. 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. 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 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. It was out of circulation for many years, but was re-released for a limited theatrical run in October 2005 and has subsequently been released on DVD. Terzo film (assieme a L'avventura e La notte) di Antonioni sulla cosiddetta incomunicabilità, resa attraverso interminabili silenzi e significativi studi psicologici dei protagonisti. For Antonioni, eroticism is an emotional tool to mask the characters shortcomings. [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. "[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. As Wenders has explained, Antonioni rejected almost all the material filmed by Wenders during the editing, except for a few short interludes. 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). 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. But each film had a voyage, albeit one where characters were inevitably trapped in an intricate psychosis of indifference, ambivalence and weighted silences. Antonioni died at age 94 on 30 July 2007 in Rome, the same day that another renowned film director, Ingmar Bergman, also died. 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. It starred David Hemmings and Vanessa Redgrave. Eschewing conventional plot and narrative forms, the Italian modernist tapped into the European post-war zeitgeist by exploring notions of uncertainty, unease and ennui. Curiously enough, our friends were invariably proletarian, and poor. 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). Con Christopher Bucholz, Robert Downey jr, Gong Li. sfn error: no target: CITEREFBordwell_and_Thompson2002 (, sfn error: no target: CITEREFCameron_&_Wood1971 (, sfn error: no target: CITEREFEcho_and_Leefeld1977 (. ", "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. 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