Michelangelo Antonioni

New on Video: ‘Paris Belongs to Us’

Paris Belongs to Us defies genre and defies even the loose standards of the New Wave. It does, however, undeniably represent the cinema of Jacques Rivette.

New on Video: ‘L’Avventura’

It is with L’Avventura that one truly gets the sense of ground being broken. That’s not to say it is the best film [Antonioni] ever directed (though I would argue it is), but this is the film of his that most clearly worked to usher in a new form of cinema, from which there was no turning back.

New on Video: ‘I vinti’

In 1953, Michelangelo Antonioni directed the episodic I vinti (The Vanquished), quite possibly the least “Antonioni-esque” feature he ever made … nevertheless a fascinating examination of this “burnt out generation.”

New on Video: ‘L’eclisse’

“L’eclisse” is the third film in Michelangelo Antonioni’s so-called “Trilogy of Alienation,” the preceding works having been “L’avventura” and “La notte.” While the three films taken together do explore many of the same themes relating to spiritual emptiness, the disbanding of relationships, and a struggle to communicate in an increasingly modern and alienating world, “L’eclisse” differs from the two earlier works most notably in its increasingly experimental style and its blatant departures from conventional storytelling and stylistic design.

A Look Back at the Cannes Palme D’Or Winners from the 60s: ‘Blowup’

The 1967 Cannes Grand Prix winner Blowup was prestigious director Michelangelo Antonioni’s first foray into English, thanks to a deal struck with MGM by producer Carlo Ponti, who contracted the director to do three of them: this one, Zabriskie Point, and The Passenger. While this is clearly the best of that trio (though The Passenger has some merit), in the great Antonioni’s career it feels like a tangential experiment more than a fully realized piece of art.

New on Video: ‘Jules and Jim’

“Though dealing with adults and serious adult situations, ‘Jules and Jim’ exhibits a formal sense of unbridled glee, with brisk editing, amusing asides, and a sinuously mobile camera. It is alive like few films are.”

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