La notte di antonioni

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Review: Michelangelo Antonionis melancholy classic La Notte gets a stunning restoration

la notte di antonioni

La Notte Trailer, 1961

2017

Sign in. Michael McKean reflects on his first Emmy nomination for " Better Call Saul " as well as his iconic roles over the years. Watch now. A young woman meets a vital young man, but their love affair is doomed because of the man's materialistic nature. A woman disappears during a Mediterranean boating trip. During the search, her lover and her best friend become attracted to each other. In an industrial area, Giuliana, an unstable woman, attempts to cope with life by starting an affair with a co-worker at the plant her husband manages.

This psychologically acute, visually striking modernist work was director Michelangelo Antonioni's follow-up to the epochal L'avventura. Marcello Mastroianni and Jeanne Moreau star as a novelist and his frustrated wife, who, Marcello Mastroianni and Jeanne Moreau star as a novelist and his frustrated wife, who, over the course of one night, confront their alienation from each other and the achingly empty bourgeois Milan circles in which they travel. Antonioni's muse Monica Vitti smolders as an industrialist's tempting daughter. Moodily sensual cinematography and subtly expressive performances make LA NOTTE an indelible illustration of romantic and social deterioration. Please enable Javascript to use Kanopy!

One question I am often asked is why the women in my films are more lucid than the men. I was raised among women: my mother, my aunt, and lots of cousins. Then I got married, and my wife had five sisters. I have always lived among women; I know them very well. Speaking for myself, I find that the feminine sensibility is a far more precise filter than any other to express what I have to say.

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C inematic trilogies have been all the rage since Pagnol's in the early 30s. But possibly the most influential was the trio that made Antonioni's beautiful, sceptical, ironic muse Monica Vitti the art house pin-up of the s and created a new Italian cinema cool, oblique, Marxist to succeed neorealism.

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