antonioni film completo

È l'ultimo film in bianco e nero girato da Antonioni; dopo due anni il regista volterà pagina girando Deserto rosso. I always had sympathy for young women of working-class families, even later when I attended university: they were more authentic and spontaneous. "[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. In 1994 he was given the Honorary Academy Award "in recognition of his place as one of the cinema's master visual stylists." Critica e impressioni. "[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. 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. [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. ", "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'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"). Durata 122 minuti. Antonioni then signed a deal with producer Carlo Ponti that would allow artistic freedom on three films in English to be released by MGM. 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[12][13][14] 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. He gives you a full shot of somebody walking down a road. "[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. CINEMA Si va da Cronaca di un amore di Michelangelo Antonioni a Goodfellas di Martin Scorsese. Here’s what we said about it at the time Published: 16 Mar 2017 Interview with Gideon Bachman, in Film Quarterly (Berkeley), Summer 1983. [9], However, Antonioni's first full-length feature film Cronaca di un amore (1950) broke away from neorealism by depicting the middle classes. [6], As a child, Antonioni was fond of drawing and music. 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. 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. Orson Welles regretted the Italian director's use of the long take: "I don't like to dwell on things. Con Christopher Bucholz, Robert Downey jr, Gong Li. "[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. 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. The filmmaker would be awarded a Lifetime Achievement Oscar in 1995, two years after the same honor was bestowed on his counterpart Federico Fellini. In 1940, Antonioni moved to Rome, where he worked for Cinema, the official Fascist film magazine edited by Vittorio Mussolini. A Venezia Classici tredici film d'autore. “Nothing happens, man; it’s just a lot of people going nowhere,” Mark Frechette, one of Antonioni’s actors, once said of his films. Da Utoszezon (Late season) di Zoltán Fabri a Sedotta e Abbandona [...] Leggi l'articolo completo: A Venezia Classici tredici film d'autore...→ #Michelangelo Antonioni Eschewing conventional plot and narrative forms, the Italian modernist tapped into the European post-war zeitgeist by exploring notions of uncertainty, unease and ennui. Professione: reporter è un film di genere drammatico del 1974, diretto da Michelangelo Antonioni, con Jack Nicholson e Maria Schneider. "[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. La Notte is thus something of Antonioni’s update of Roberto Rossellini’s Journey to Italy from 1954. In fact she’s forgotten and evaporates from the movie’s and the characters’ consciousness. 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. 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. My father also was a good man. The short film's episodes are framed by dreamy paintings and the song "Michelangelo … 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. I invented stories for them. Sexuality is reduced to casual seduction, enterprise to the pursuit of wealth at any cost. However, its release was a critical and commercial disaster. 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. 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. Drammatico, Italia, 1960. [30] Miklós Jancsó considers Antonioni as his master. Distribuito da DINO DE LAURENTIIS - … The film would go on to win a Special Jury Prize “for its remarkable contribution towards the search for a new cinematic language.”. [9] Antonioni returned to their use in L'avventura (1960), which became his first international success. Distribuito da CEI INCOM - CD VIDEOSUONO. [3], Antonioni's spare style and purposeless characters, however, have not received universal acclaim. "[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. 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. And then she leaves and you go on looking at the road after she's gone. Consigli per la visione +16. He was the son of Elisabetta (née Roncagli) and Ismaele Antonioni. [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'avventura - Un film di Michelangelo Antonioni. Il grido (The Outcry, 1957) was a return to working class stories, depicting a factory worker and his daughter. However, Antonioni was fired a few months afterward. 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). 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. "[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. Un sentimento indecifrabile e indefinibile. I met Antonioni three years ago in Taormina at a film festival. "[3] American directors Francis Ford Coppola and Brian De Palma paid homage to Antonioni in their own films. 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". ", 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. A group of rich Italians head out on a yachting trip to a deserted volcanic island in the Mediterranean. 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. 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). Con Gabriele Ferzetti, Monica Vitti, Lea Massari, Renzo Ricci, Dominique Blanchar, Dorothy De Poliolo. 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 film was Zabriskie Point (1970), his first set in America and with a counterculture theme. The third, The Passenger (1975), starring Jack Nicholson and Maria Schneider, received critical praise, but also did poorly at the box office. Curiously enough, our friends were invariably proletarian, and poor. When they are about to leave the island, they find Anna, the main character up to this point, has gone missing. My intention ... was to translate the poetry of the world, in which even factories can be beautiful. 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. 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). “L’Avventura” (“The Adventure” 1960) In the end actions are never judged; this is not about consequences. A key text of swinging London, Michaelangelo Antonioni’s Palme d’Or winning film was released in 1967. Per Umberto Eco, con L’avventura eLa notte, i… [29] Stanley Kubrick listed La Notte as one of his ten favorite films in a 1963 Poll. Durata 102 minuti. 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. 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. "[32], Italian film director and screenwriter (1912-2007). 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 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. 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. 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 died at age 94 on 30 July 2007 in Rome, the same day that another renowned film director, Ingmar Bergman, also died. Grandissimo film, il più significativo di Antonioni insieme all' Avventura. My mother ... was a warm and intelligent woman who had been a laborer in her youth. Sandro, Anna's boyfriend, and Claudia, Anna's friend, try … In seguito alla proiezione del film, il regista Roberto Rossellinidichiarò: “L’avventura è il più bel film mai presentato a un festival”. 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. 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. Film streaming gratis Links Mixdrop Supervideo Embed Fasturl Doodstream L'Avventura di Michelangelo Antonioni - 1960 - 144' completo Antonioni (1912–2007), whose fascination with mediated reality only deepened over time, was a restless experimenter with composition, camera movement, cutting, and storytelling. Directed by Michelangelo Antonioni. Durata 140 min. 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). The short film's episodes are framed by dreamy paintings and the song "Michelangelo Antonioni", composed and sung by Caetano Veloso. But each film had a voyage, albeit one where characters were inevitably trapped in an intricate psychosis of indifference, ambivalence and weighted silences. Chatman, Seymour Benjamin, and Paul Duncan. In its second half, “L’Avventura” all but abandons the missing girl—she drifts away like a foggy, forlorn memory—and then tracks her boyfriend Sandro (Gabriele Ferzetti) and best friend Claudia (Monica Vitti) as they eventually fall in love while initially searching in vain for their lost companion. Born into a working-class family, he succeeded in obtaining a comfortable position through evening courses and hard work. La notte è un film di genere drammatico del 1960, diretto da Michelangelo Antonioni, con Marcello Mastroianni e Jeanne Moreau. Although he abandoned the violin with the discovery of cinema in his teens, drawing would remain a lifelong passion. 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. —Antonioni, interviewed about Red Desert (1964). Blow Up è un film del 1966 di Michelangelo Antonioni, un cult non solo da parte degli appassionati di cinema, ma anche di fotografia. Career-wise, Antonioni’s Red Desert is emblematic of his 1960-1964 period, but it also represents a transition. [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. Antonioni, Michelangelo, “Il ‘big bang’ della nascita di un film,” in Cinema Nuovo (Bari), December 1981. 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. Durata 125 minuti. The soundtrack featured music from Pink Floyd (who wrote new music specifically for the film), the Grateful Dead and the Rolling Stones. Il grido è un film di genere drammatico del 1957, diretto da Michelangelo Antonioni, con Alida Valli e Steve Cochran.

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