antonioni film completo

Ignorant in architecture, I constructed buildings and streets crammed with little figures. Grandissimo film, il più significativo di Antonioni insieme all' Avventura. We have been capable of all this, but we have not been capable of finding new ones. "[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. He is one of three directors to have won the Palme d'Or, the Golden Lion and the Golden Bear, and the only director to have won these three and the Golden Leopard. 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. Con Gabriele Ferzetti, Monica Vitti, Lea Massari, Renzo Ricci, Dominique Blanchar, Dorothy De Poliolo. When they are about to leave the island, they find Anna, the main character up to this point, has gone missing. 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). Antonioni (1912–2007), whose fascination with mediated reality only deepened over time, was a restless experimenter with composition, camera movement, cutting, and storytelling. [3] His work would substantially influence subsequent art cinema.[4]. Da Utoszezon (Late season) di Zoltán Fabri a Sedotta e Abbandona [...] Leggi l'articolo completo: A Venezia Classici tredici film d'autore...→ #Michelangelo Antonioni It starred David Hemmings and Vanessa Redgrave. But each film had a voyage, albeit one where characters were inevitably trapped in an intricate psychosis of indifference, ambivalence and weighted silences. 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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. "[32], Italian film director and screenwriter (1912-2007). 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). "[28], Film director Akira Kurosawa considered Antonioni one of the most interesting filmmakers. In fact she’s forgotten and evaporates from the movie’s and the characters’ consciousness. La notte (1961), starring Jeanne Moreau and Marcello Mastroianni, and L'Eclisse (1962), starring Alain Delon, followed L'avventura. With Jack Nicholson, Maria Schneider, Jenny Runacre, Ian Hendry. L'Avventura di Michelangelo Antonioni - 1960 - 144' completo 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. Months later, the statuette was stolen by burglars and had to be replaced. Career-wise, Antonioni’s Red Desert is emblematic of his 1960-1964 period, but it also represents a transition. 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). The poor still existed at that time, you recognized them by their clothes. Drammatico, Italia, 1960. In 1994 he was given the Honorary Academy Award "in recognition of his place as one of the cinema's master visual stylists." Upon graduation from the University of Bologna with a degree in economics, he started writing for the local Ferrara newspaper Il Corriere Padano in 1935 as a film journalist. 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. However, he continued to make films, including Beyond the Clouds (1995), for which Wim Wenders filmed some scenes. 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. Con Christopher Bucholz, Robert Downey jr, Gong Li. Durata 102 minuti. 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. Distribuito da DINO DE LAURENTIIS - … The second film was Zabriskie Point (1970), his first set in America and with a counterculture theme. These childhood happenings - I was eleven years old - were like little films."[7]. 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. 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). Antonioni was born into a prosperous family of landowners in Ferrara, Emilia Romagna, in northern Italy. Here’s what we said about it at the time Published: 16 Mar 2017 The third, The Passenger (1975), starring Jack Nicholson and Maria Schneider, received critical praise, but also did poorly at the box office. 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. He made the documentary Chung Kuo, Cina, but it was severely denounced by the Chinese authorities as "anti-Chinese" and "anti-communist". 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. "I have never drawn, even as a child, either puppets or silhouettes but rather facades of houses and gates. In the end actions are never judged; this is not about consequences. Previously, he had been nominated for Academy Awards for Best Director and Best Screenplay for Blowup. Terzo film (assieme a L'avventura e La notte) di Antonioni sulla cosiddetta incomunicabilità, resa attraverso interminabili silenzi e significativi studi psicologici dei protagonisti. "[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. As Wenders has explained, Antonioni rejected almost all the material filmed by Wenders during the editing, except for a few short interludes. Directed by Michelangelo Antonioni. Durata 102 minuti. [21], Critic Richard Brody described Antonioni as "the cinema's exemplary modernist" and one of its "great pictorialists—his images reflect, with a cold enticement, the abstractions that fascinated him. 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. In 1985, Antonioni suffered a stroke, which left him partly paralyzed and unable to speak. 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. My intention ... was to translate the poetry of the world, in which even factories can be beautiful. 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. Il primo dei film che andremo ad analizzare è L’avventura, del 1960. 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. 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"). Interview with Gideon Bachman, in Film Quarterly (Berkeley), Summer 1983. The short film's episodes are framed by dreamy paintings and the song "Michelangelo Antonioni", composed and sung by Caetano Veloso. "[3] American directors Francis Ford Coppola and Brian De Palma paid homage to Antonioni in their own films. [3], Antonioni's spare style and purposeless characters, however, have not received universal acclaim. 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. Critica e impressioni. Orson Welles regretted the Italian director's use of the long take: "I don't like to dwell on things. [29] Stanley Kubrick listed La Notte as one of his ten favorite films in a 1963 Poll. Sandro, for instance, having sold out his artistic side for hollow work in the commercial world. Antonioni died at age 94 on 30 July 2007 in Rome, the same day that another renowned film director, Ingmar Bergman, also died. [6], As a child, Antonioni was fond of drawing and music. Later that year he enrolled at the Centro Sperimentale di Cinematografia to study film technique, but left after three months. Although he abandoned the violin with the discovery of cinema in his teens, drawing would remain a lifelong passion. "[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. I film di Antonioni che ho visto: Gente del Po (1947, documentario) *** Cronaca di un … A key text of swinging London, Michaelangelo Antonioni’s Palme d’Or winning film was released in 1967. 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. 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. A group of rich Italians head out on a yachting trip to a deserted volcanic island in the Mediterranean. 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. [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. Born into a working-class family, he succeeded in obtaining a comfortable position through evening courses and hard work. I invented stories for them. 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. Di Michelangelo Antonioni, Steven Soderbergh, Wong Kar Wai. Chatman, Seymour Benjamin, and Paul Duncan. 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. 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. Si tratta del primo capitolo della “trilogia dell’incomunicabilità”, presentato in concorso al 13° Festival di Cannes, fischiato dal pubblico ma vincitore del “premio della giuria”, per il tentativo di sviluppare un nuovo linguaggio cinematografico e per la bellezza delle immagini. “L’Avventura” (“The Adventure” 1960) The first, Blowup (1966),[16] set in Swinging London, was a major international success. Per Umberto Eco, con L’avventura eLa notte, i… The film would go on to win a Special Jury Prize “for its remarkable contribution towards the search for a new cinematic language.”. "[22], Wexman describes Antonioni's perspective on the world as that of a "postreligious Marxist and existentialist intellectual. —Antonioni, interviewed about Red Desert (1964). 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. [1] All of these films star Monica Vitti, his lover during that period. Antonioni then signed a deal with producer Carlo Ponti that would allow artistic freedom on three films in English to be released by MGM. Il grido è un film di genere drammatico del 1957, diretto da Michelangelo Antonioni, con Alida Valli e Steve Cochran. "[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. My father also was a good man. He continued to do so in a series of other films: I vinti ("The Vanquished", 1952), a trio of stories, each set in a different country (France, Italy and England), about juvenile delinquency; La signora senza camelie (The Lady Without Camellias, 1953) about a young film star and her fall from grace; and Le amiche (The Girlfriends, 1955) about middle-class women in Turin. “Nothing happens, man; it’s just a lot of people going nowhere,” Mark Frechette, one of Antonioni’s actors, once said of his films. Durata 122 minuti. "[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. One of my favorite games consisted of organizing towns. Eschewing conventional plot and narrative forms, the Italian modernist tapped into the European post-war zeitgeist by exploring notions of uncertainty, unease and ennui. 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. 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. [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. Directed by Michelangelo Antonioni. 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 . Haunted by a sense of instability and impermanence, his work defined a cinema of possibilities. 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. [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. La notte è un film di genere drammatico del 1960, diretto da Michelangelo Antonioni, con Marcello Mastroianni e Jeanne Moreau. I met Antonioni three years ago in Taormina at a film festival. Durata 140 min. [18] They shared the FIPRESCI Prize at the Venice Film Festival with Cyclo. "[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. 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. For Antonioni, eroticism is an emotional tool to mask the characters shortcomings. Each of these stories is about social alienation.[9]. 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. Il grido (The Outcry, 1957) was a return to working class stories, depicting a factory worker and his daughter. 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. My mother ... was a warm and intelligent woman who had been a laborer in her youth. He was subsequently drafted into the army. And then she leaves and you go on looking at the road after she's gone. Uscito nel 1966 il film è il primo della trilogia americana del regista italiano. 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. Film streaming gratis Links Mixdrop Supervideo Embed Fasturl Doodstream A Venezia Classici tredici film d'autore. [20] The U.S. DVD release of the film includes another 2004 short film by Antonioni, Lo sguardo di Michelangelo (The Gaze of Michelangelo). I always had sympathy for young women of working-class families, even later when I attended university: they were more authentic and spontaneous. 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. 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?

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