Ingmar Bergman wasn’t a huge fan, but he thinks Antonioni “made two masterpieces – Blow-Up and La Notte“:
Roughly thirty-five to forty-five seconds after getting ridiculously baked backstage, The Passenger star Jack Nicholson presents Antonioni with an honorary Oscar at the 1995 Academy Awards. “In the empty silent spaces of the world, he has found metaphors that illuminate the silent places of our hearts.” Interesting crowd shots: Sharon Stone has red hair (did I miss that movie?), Keanu Reeves claps like an automaton, and Soul Asylum frontman Dave Pirner can be seen in the background (he was dating Winona Ryder at the time).
The ravishing Monica Vitti describes the Cannes reception of L’Avventura: “From the very beginning, from the opening titles sequence, the audience was laughing and we couldn’t understand why.”
Now some scenes from L’Avventura, starting with the inciting incident: “Words are becoming less and less necessary.”
The gorgeous shot of a sunrise through a doorway, showing Antonioni’s vision of nature as beautiful, barren, and forbidding:
“How can it be that takes so little to change, to forget?” – the slippery nature of memory, identity, and existence:
Monica Vitti draws a crowd:
Isolation, despair, and longing, even in a crowded party. In both L’Avventura and La Notte, the verbal buzz of insipid party chatter is an essential component of the sound mix.