Antonioni’s 1950s work represents one of the most fruitful directorial decades to watch of any filmmaker. The makers of individual, handmade films that had been institutionally kept out on the fringes (Stan Brakhage, Shirley Clarke, Norman McLaren, to name but three) were starting to draw more viewers and critical attention. Le plaquette e i vari critici forse semplificando, parlando della poetica del maestro ferrarese parlano di alienazione, incomunicabilità, spesso sorvolando ed addentrandosi poco in quello che ne è il significato più profondo . Winter and Anders Edström’s The Anchorage; Ulrich Köhler’s Sleeping Sickness; the entire so-called Berlin School, of which Köhler is a part; Albert Serra’s Honour of the Knights and Birdsong; James Benning; Kelly Reichardt; Kore-eda Hirokazu; Ho Yuhang’s Rain Dogs; Jia Zhangke’s Platform and Still Life; Li Hongqi’s Winter Vacation. Ho scoperto Antonioni, finalmente. Il fidanzato della ragazza, l'architetto Sandro, si dà da fare per cercarla insieme a Claudia, una delle amiche di Anna, ma senza alcun risultato; nel frattempo, fra lui e Claudia ha inizio una relazione sentimentale... È solo educato, com'era, come continua ad essere la borghesia che interessa ad Antonioni. Brunetta). Tuttavia egli è un debole: e si farà trovare, in albergo, fra le braccia di una prostituta costosa. What if endings were less conclusive, or less ‘satisfying’? Michelangelo Antonioni’s first collaboration with poet Tonino Guerra extended his early experiments with narrative: the sudden disappearance of a diplomat’s daughter while holidaying with friends in the Aeolian Islands is less the start of a mystery than of a cool dissection of the relationship that develops between her lover and her best friend as they search for her. L'assenza di comunicazione viene proposta sin dalle prime sequenze: la generazione dei padri, che dopo neanche dieci anni verrà messa seriamente in discussione, manifesta a quella dei figli che non riesce più ad esercitare il suo ruolo, o che si sente anche -e soprattutto- ignorata. Iscriviti e, STORIA 'POCONORMALE' DEL CINEMA: QUANDO ERAVAMO I PIÙ BRAVI DEL MONDO, CANNES CLASSICS: OMAGGIO A MICHELANGELO ANTONIONI E MONICA VITTI, Undine, la video recensione del film di Christian Petzold, Un affare di famiglia, la video recensione, The Story of Movies - Episodio IX: Calcio e campioni, The Story of Movies - Episodio 8: Il thriller italiano, The Story of Movies VII: Jung Woo-Sung, 100 anni di cinema coreano, The Story of Movies - Episodio 6: Enzo D'Alò, il cinema d'animazione, The Story of Movies - Episodio 5: Il comico italiano, The Story of Movies - Episodio 4: Italian families, La vita straordinaria di David Copperfield, Trash - La leggenda della piramide magica, Palm Springs - Vivi come se non ci fosse un domani, Victor - La storia segreta del Dottor Frankenstein, Divinazioni, un'indagine su riti di cui sembra essersi persa la memoria, Spencer, la prima foto di Kristen Stewart nelle vesti di Diana, Il Male esiste, è accaduto, è vicino. The People of the Po is an early neorealist work, both in its submersion in unvarnished realism and its interest in the lives of working people, but it also works against the predominant tendency in neorealism to project sympathy and sentimentality. Subscribe now for exclusive offers and the best of cinema. Michelangelo Antonioni, aveva 8 anni più di Fellini e cominciò all'inizio degli anni Cinquanta, come il riminese. Michelangelo Antonioni invented a new film grammar with this masterwork. With only a few filmmakers (Mizoguchi, Renoir, Dreyer, von Sternberg, Resnais, Olmi, Kubrick, and more recently Costa, Alonso and Apichatpong) is there such a visible, constant seeking of artistic purpose through the process of each successive film – a striving, a refinement. ), L’avventura can superficially be seen as magnificently beautiful in its constant chain of stunning black-and-white images from cinematographer Aldo Scavarda (with whom Antonioni had never previously worked, and never would again). Nella piazza di una chiesa rovescia di proposito un calamaio sul disegno di una giovane. Already in some ways a master in 1950, he proceeded to question his own positions with each film, as if the doubts he had about the state of the post-war world resided, originally, in himself, and then fanned out to the making of the work itself, so that the expression of mortality (most explicitly conveyed in a Pavese adaptation such as Le amiche) inside the film was part and parcel of the director’s own tentative stance. Individual shots become more extended and prolonged, the sky and land grow larger, the elements become more tangible (clouds, rain, harsher sun). Pur risentendo forse di una durata eccessivamente dilatata, L'avventura resta una pellicola di indubbio fascino, ed un'opera fondamentale all'interno di quella "poetica dell'incomunicabilità" tanto cara al cinema di Antonioni. Sandro e Anna decidono di cercarla per proprio conto. Full Review. What makes L’avventura the greatest of all films, however, is its assertion, exploration and expansion of the concept of the ‘open film’. He is a reserved individual and it is difficult to capture filmmaking by following the process, which is rife with problems and errors. Un gruppo di amici va in gita su un'isola siciliana. Frasi oracolari, preziosismi letterari a go-go, presunzioni intellettuali insopportabili, regia estremamente ed inutilmente ambiziosa: non sviluppa un bel niente, sta sui suoi compiacimenti calligrafici e gode un mondo a creare enigmi chissà quanto preziosi. Arrivano in Sicilia e di paese in paese domandano di Anna. "L'Avventura"(1960) was directed by Michelangelo Antonioni. Where to begin with Michelangelo Antonioni, The five loneliest landscapes in the films of Michelangelo Antonioni, L’avventura giapponese: Antonioni in Japan. Un film considerato oggi fra le migliori opere del regista ferrarese, ma che all'epoca della sua uscita fu denunciato per oscenità e offesa al pudore e non passò indenne al vaglio della censura. She was in effect the glue that held the party together, having helped bring Claudia in closer to her circle of friends – and to Sandro. Even though Antonioni had already made five feature films before L’Avventura, it’s this film that introduced his work to a broader audience, marking the beginning of the director’s international stardom. The screening was such a disaster that Antonioni and the star of the film, Monica Vitti, fled the cinema. Per questo L'avventura mantiene minore vedibilità rispetto al primo, che è un'opera d'arte totale e perfetta, anche se, appunto, di respiro più corto. Durante una sosta su un isolotto deserto una giovane donna scompare misteriosamente. Vai alla recensione ». (Tentato suicido/Tentative Suicide is the title of Antonioni’s segment in the 1953 omnibus film L’amore in città.). That year, the Palme d’Or, the festival’s top honor, went to Federico Fellini’s La Dolce Vita. These were not only cerebral matters – though the intellectual currents running underneath these films and under the neorealist movement preceding them were crucial to their fecundity – but real concerns rooted in the hard factors that faced any Italian filmmaker trying to get a project off the ground. In almost no case during the 1950s did he encounter a smooth pre-production, firm financial backing or drama-free production periods. In Michelangelo Antonioni’s groundbreaking and controversial arthouse milestone, the mystery of a woman’s disappearance from a Mediterranean island is left unresolved. There is a comfort in knowing one can hide at will but there is no greater unease than not having a souvenir of said disappearance. In una gita con uno youht una donna scompare durante la fermata in un isolotto, il compagno e l'amica la cercano mentre il resto del gruppo riparte prima che li blocchi la tempesta. Con Gabriele Ferzetti, Monica Vitti, Lea Massari, Renzo Ricci, Dominique Blanchar, Dorothy De Poliolo. Nel precedente Il grido il regista si era assunto responsabilità minori, tutto era determinato dalla necessità e dal piccolo sentimento, quasi dalla biologia. In quel gesto scattoso e a prima vista incomprensibile c'è in nuce tutta una poetica: quella di Michelangelo Antonioni che con L'avventura apre [...] Perché possedeva altre attitudini, minore istinto e creatività di diversa genetica. Find out about international touring programmes, BFI Film Academy: opportunities for young creatives, Get funding to progress my creative career, Search the BFI National Archive collections, Read research data and market intelligence, Search for projects funded by National Lottery, Apply for British certification and tax relief, Get help as a new filmmaker and find out about NETWORK, Find out about booking film programmes internationally. Many people take the Modern to be a standard to be raised in battle against the old world and its compromised values; but for you the Modern is not the static term of a facile opposition; the Modern is on the contrary an active difficulty in following the changes of Time, not just at the level of grand History but at that of the little History of which each of us is individually the measure. Trovo davvero stupenda la sceneggiatura, la ricerca di paesaggi e ed ambienti naturali (in questo caso la Sicilia e lo splendido mare delle Eolie) che il regista usa da sfondo alla descrizione della vicenda e dei caratteri dei personaggi. But "good" for Antonioni is too flat and monotonous a praise, much like this picture. Many films are called “classic,” but few qualify as turning points in the evolution of cinematic language, films that opened the way to a more mature art form. Besides, the ways in which L’avventura works on the viewer’s consciousness are furtive and often below a conscious level. L'Avventura. Antonioni: Documents and Testimonials – 1966 documentary was the first to get Antonioni’s approval. L'Avventura Critics Consensus. Each of your films has been, at your personal level, a historical experience, that is to say the abandonment of an old problem and the formulation of a new question; this means that you have lived through and treated the history of the last 30 years with subtlety, not as the matter of an artistic reflection or an ideological mission, but as a substance whose magnetism it was your task to capture from work to work.”. In Apichatpong’s fascination with characters being transformed by the landscape around them; in Raksasad’s interest in dissolving the borders between ‘documentary’ and ‘fiction’, or the recorded and the staged; in Alonso’s precision and absolute commitment to purely cinematic resources and disgust with the sentimental; in Köhler’s continual refinement of his visualisation of his characters’ uncertain existences; in Reichardt’s concern for what happens to human beings in nature – especially when they get lost: in all these and more, the open film is stretched, remoulded, reconsidered, questioned, embraced. Consigli per la visione +16. Niente era dipendente da una volontà, non c'erano onestà, coerenza, umanità, logica, speranza, al massimo poteva esserci convenzione. This is a map that did (as Perez has noted) go out of style for a time, perhaps during the period of postmodernism, and definitely during the period when Fassbinder ruled the arthouse. Accolto con reazioni contrastanti al Festival di Cannes del 1960, dove ottenne il Premio della Giuria, L'avventura costituisce uno dei titoli più significativi ed apprezzati nell'intera produzione di Antonioni, che ne ha firmato la sceneggiatura insieme a Tonino Guerra ed Elio Bartolini. This had been Antonioni’s great project ever since he started out as a filmmaker after an extremely interesting career as a critic (like Godard). "L'Avventura" created a stir in 1960, when Kael picked it as the best film of the year. La cosa è molto misteriosa, viene avvertita la polizia. Meanwhile the Italian film world had already seen the old codes of neorealism swept away – much of it Antonioni’s own doing – and had moved towards a post-neorealist cinema liberated from melodrama and political ideologies, perhaps best exemplified in 1959 by Ermanno Olmi’s first feature Time Stood Still. 1960, – that points to a host of possible readings beyond what mere narrative allows, and yet at the same time is too specifically rooted in a form of acting – in situations, episodes and events – to ever become purely abstract. Se dunque la prima parte del film è incentrata sulla vana ricerca di Anna, nella seconda parte Antonioni si sofferma invece sull'inaspettato rapporto che nasce fra Sandro (Gabriele Ferzetti) e Claudia (Monica Vitti), e sui mutevoli stati d'animo di quest'ultima: al suo amore per Sandro si mescola infatti uno strisciante senso di colpa nei confronti dell'amica Anna, un'invisibile donna-fantasma la cui presenza continua a gravare ossessivamente sulle esistenze di Sandro e di Claudia. For Geoffrey Nowell-Smith, “L’avventura is a film about consciousness and its objects, the consciousness that people have of other people and of the environment that surrounds them.” It is a film that’s also about a change of consciousness – what that looks and feels like: for instance Claudia’s move from the edges to the centre and, in the final passages, back to the edges. . L’avventura is populated by good-looking actors oozing sex appeal. Drammatico, Italia, 1960. Antonioni was never a leader – nor even part – of a movement. Almost all films of any kind privilege certain artistic values above others, and the great ones do it for several: Singin’ in the Rain honours the body, the sounds of showbiz, the fresh memories of Hollywood at its height; Vampyr celebrates the psychological effect that optical dislocations have on the viewer’s psyche, the spiritual possibilities of the horror film, the blurry line between genres and those alive and dead. Even a movie with huge pop figures and crossover attraction like Richard Lester’s A Hard Day’s Night (1964) would have been unthinkable without the example of Godard. Vai alla recensione ». L 'Avventura is the film that established the reputation of Italian film director Michelangelo Antonioni and heralded a new era of modernism in Italian cinema in the early 1960s, a worthy successor to neo-realism. Viewed in isolation (and aren’t almost all films, even more now in our isolated viewing environments? Il concorso e la presenza italiana In line with the development of lenses, film stocks and new and smaller cameras (including a more ubiquitous use of 16mm), the modernism that took hold showed yet again the time lag after which cinema typically comes to embrace changes that have occurred first in other artforms: for instance, the radical overhaul of jazz by bebop; the transformation of the sound world of music by such figures as Edgard Varèse and Harry Partch; the abstract-expressionist movement in painting from Pollock to Rothko; the ‘new novel’ invading literature (on which Marienbad drew, courtesy of a script by novelist Alain Robbe-Grillet). Del resto l'incomprensione fa parte della liturgia del mito. L’uomo la cerca, con l’amica di lei: e infine diviene l’amante di questa, una donna fresca, moderna e insieme romantica, appena venata da una sottile linea di ipocrisia. Sandro, su un campanile, improvvisamente chiede a Claudia di sposarlo, poi si lamenta del proprio lavoro: lui, architetto che fa i calcoli per i progetti degli altri. Directed by Michelangelo Antonioni. Anna è in procinto di partire per una gita con degli amici: una prima spiegazione per il titolo , come anche il rapporto [...] In the early scenes when Anna visits Sandro, or when they join their holiday boating group, Vitti’s Claudia remains for a long time on the outside looking in, marginalised, seemingly unimportant. Regia di Michelangelo Antonioni. What’s even more disturbing is that nothing happens – no discovery, no evidence, no detective work and, finally, no memory. Su questo sito utilizziamo cookie tecnici e, previo tuo consenso, cookie di profilazione per proporti pubblicità in linea con le tue preferenze. Il termine capolavoro non va abusato ma  nel caso de “L’avventura” come in quasi tutti i film di Antonioni no va sprecato. Antonioni, as Perez often notes, infuses his cinema with doubt – a doubt that extends to his questioning of psychology as a basis for cinematic drama (let alone his doubt in the value of cinematic drama). A kind of film that was first named L’avventura. The landscapes in L’avventura have been interpreted in a number of different ways that testify to the film’s Joycean levels of readings: from Seymour Chatman’s insistence on metonyms for his reading of what he calls Antonioni’s “surface of the world”, to Gilberto Perez’s more valuable view of the work in his extraordinary film study The Material Ghost, across a whole range of possible interpretations, from the literary to the visual. Compared to movies, period, L'Avventura is good. L'Avventura de Michelangelo Antonioni un film à télécharger, en VoD et streaming légal sur LaCinetek Splendida fotografia in bianconero di Aldo Scavarda. Vai alla recensione ». His major films included Le amiche (1955), L’avventura (1960), L’eclisse (1962), and Blow-Up (1966). Distributie Gabriele Ferzetti, Monica Vitti. Pochi giorni fa, all'idea che Anna fosse morta, mi sentivo morire anch'io. Certo, c'è sempre il gesto finale di Claudia, che può essere un richiamo di tenerezza e di speranza. Attori bravi, ma spaesati perchè non capiscono quello che stanno facendo. Un sentimento indecifrabile e indefinibile. The typically poor performance of his films at the box office did little to enamour him to distributors and producers, though in the then nascent world of the auteur film business, it helped enormously that his films did well – even smashingly well – in Paris. With no ads. The years 1959 to 1960 can be identified as a world-historical moment for film. Michelangelo Antonioni: ‘L’Avventura’ & ‘La Notte’ + ‘L’Eclisse’ Filmmaker Andre Soares 13 years ago Michelangelo Antonioni, the film master of modern alienation, despair, and ennui, was the third important personage of world cinema to die in the last three days – Ingmar Bergman and … Notte e nebbia chiede di essere visto, MioCinema, una rassegna per onorare il giorno della memoria, Un divano a Tunisi, su IBS il dvd di una commedia terapeutica in tempi di crisi e ricostruzione, Sulla scena del delitto: Il caso del Cecil Hotel, il trailer italiano della serie [HD], Ginny & Georgia, il trailer italiano della serie [HD], Stasera in TV: i film da non perdere di mercoledì 27 gennaio 2021, 1938 - Diversi, un promemoria di fondamentale importanza, 32. Beautiful, interesting, incredible movies — a new film every single day. This was the first audience response to Michelangelo Antonioni’s L’avventura, a film that seems to allow carefully composed images and sequences to remain on-screen beyond their use-by date in rendering an already threadbare narrative. I temi deL'Avventura, distruttivi e senza speranza, indussero la magistratura a sequestrare il film per oscenità e offesa al pudore. Una compagnia non proprio affiatata, legata più per inerzia, tra invidie e scheletri nell'armadio. But here, after a while, they don’t speak of Anna anymore. For one thing, in Antonioni, God doesn’t exist. What did it mean to reject a storytelling architecture that had served dramatists well since Aeschylus? The greatness of L’avventura is multivalent, situated in many realms at once: cinematic, aural, existential, literary, architectural, sexual, philosophical – all of them of equal importance. The Cannes Film Festival premiere of L’avventura in 1960 met with catcalls from audiences frustrated with the film’s inconclusiveness and the slowness of its pacing. L’Avventura location: the customs house: Villa Palagonia, Bagheria, Sicily. Pretese e presunzioni intellettuali calate in un'atmosfera metafisica. Monica Vitti, for one, had never had a starring film role before, but with her smouldering presence it was she – as much as Sophia Loren or Ingmar Bergman’s ensemble of intelligent and worldly actresses – who set the standard and the look for the new, sexualised European movie star that was key to the successful foreign-film invasion that hit English-language shores (and was perceived as such a threat by LBJ and his White House crony Jack Valenti that they set up the American Film Institute as a nationalist bulwark against the foreigners supposedly taking over US cinemas). Roland Barthes, in his profoundly perceptive and concise 1980 speech honouring Antonioni, identified the process this way: “It is because you are an artist that your work is open to the Modern. 8  |  from our August 2011 issue. An iconic piece of challenging 1960s cinema and a gripping narrative on its own terms, L’avventura concerns the enigmatic disappearance of a young woman during a yachting trip off the coast of Sicily, and the search taken up by her disaffected lover (Gabriele Ferzetti) and best friend (Monica Vitti, in her breakout role). Premio speciale della giuria, Fipresci e Jeune Critique a Cannes e Nastro d'argento 1961 alla musica di Giovanni Fusco. (Though this was an area Antonioni did address in various ways, including the semi-apocalyptic ending of L’eclisse, the visualisations of madness in 1964’s Red Desert and the slow-motion explosion near the end of Zabriskie Point.). L’Avventura, the first movement in Antonioni’s great tetralogy, remains the most haunting representation of the ennui of modern life. Note: After the historically negative reception of L’avventura at the 1960 Cannes Film Festival, directors, critics, jury members, and journalists signed an open letter praising the film, prompting a second screening. Regizat de Michelangelo Antonioni. Wednesday 1 August 2012, Everything you need to know about the Sight & Sound Greatest Films of All Time polls. Michelangelo Antonioni invented a new film grammar with this masterwork. piùCompagnia - All I watch for Christmas. In L’avventura, more than any film before it had ever dared, the centre will not hold. Michelangelo Antonioni invented a new film grammar with this masterwork. ©2021 British Film Institute. Genere Drammatico "Both directors were Italian, both depicted their characters in a fruitless search for sensual pleasure, both films ended at dawn with emptiness and soul-sickness. L’Avventura is sometimes classified as the first film of Antonioni’s “trilogy of alienation”, which included his immediately succeeding films, La Notte (1961), and L’Eclisse (1962), but there is nothing to distinguish these three from earlier and later Antonioni works, other than, perhaps, the heightened emphasis on the anguish caused by the seemingly inevitable impermanence of love. For me, however, it’s always tempting to see these people – on this island, at that moment – as the last humans on earth. For Antonioni, the issues of neorealism were essential, in that they gave him an aesthetic base from which to launch. Afterward, L’avventura won the festival’s Special Jury Prize. La sceneggiatura non è all'altezza della situazione, costringe gli attori a recitare come belle statuine. A new, maturing modernity became widespread in cinema. Puntata 23 140 min. These are most certainly not Bergman women, forever examining themselves, forever able to articulate the exact words in whole spoken paragraphs about their state of mind, their relationship with God. Se vuoi saperne di più, Disponibile su Amazon Prime Video. Thus the open film’s mapping of changes of consciousness – through the tools of mise-en-scène, temporality, elliptical editing, a matching of sound to image combined with a de-emphasis on actors’ faces presiding over scenes (close-ups are fewer by far in L’avventura than any of his previous films) – is a picture of a post-psychological topography of the human condition, a radical effort to find a cinema grammar to express inner thought with photographic means. Lui è seduto su una panchina, lei gli si avvicina e, faticosamente, lo accarezza. Registered charity 287780. L’Avventura is generally regarded as a part of the informal trilogy alongside La Notte and L’Eclisse. It divided film history into that which came before and that which was possible after its epochal appearance. Attenzione. An iconic piece of challenging 1960s cinema and a gripping narrative on its own terms, L’AVVENTURA concerns the enigmatic disappearance of a young woman during a yachting trip off the coast of Sicily, and the … Piangendo, la donna lo farà a sua volta piangere e lo perdonerà. Watch truly great cinema. Sandro è tutto questo, capace di fare qualsiasi cosa, di prendere tutte le decisioni in quel momento. Robert Koehler Updated: 13 November 2019, Poll countdown essay no. Ne esce un prodotto pieno di divagazioni e di escursioni intellettualoidi, estetizzanti, che disorientano. Film. The Digital Edition and Archive quick link. In L’Avventura, the real adventure is Claudia’s journey towards self-knowledge. Vai alla recensione ». L’avventura is now more influential than ever, argues Robert Koehler in the latest of our series on contenders for our Greatest Films of All Time poll. And add to this his growing interest in temporality, the emptied-out frame, the composition that maintains both precision and an expansive gaze that treats bodies, buildings and landscapes with equal importance. - Italia, L'invio non è andato a buon fine. Hand-picked. a wandering? This is part of the film’s timelessness, within an absolutely contemporary / modern setting. When Michelangelo Antonioni’s L’avventura arrived in 1960 – amidst a tumultuous reception in Cannes that saw some disturbed audience members wanting to throw something at the screen – cinema was already changing in fundamental ways. PJ Nabarro Patrick Nabarro. L'avventura - Aventura. Tutto sta diventando maledettamente facile: persino privarsi di un dolore. Wherever you are. Adesso non piango nemmeno. But after Anna inexplicably disappears during a boat trip to an uninhabited island, it is Claudia who moves to the centre of the narrative – and into the affections of Anna’s architect boyfriend Sandro (Gabriele Ferzetti) – as attempts to find Anna gradually peter out. Michelangelo Antonioni invented a new film grammar with this masterwork. Dettagli She gradually fades, which is what happens to the dead as regarded by the living (not that Anna is necessarily dead; the film neither encourages nor discourages the suggestion). durata 140 minuti. L’avventura builds on the work and experiences of Antonioni’s previous decade, which saw him working through his doubts about genre (film noir in Story of a Love Affair, backstage drama in La signora senza camelie, 1953); about narrative form (the counter-intuitive three-part structure of I vinti, 1952); his love of writer Cesare Pavese (author of the source novel for 1955’s Le amiche) – as important a literary voice to Antonioni as Cesare Zavattini was to the hardcore neorealists. Yet I’d argue that L’avventura and Antonioni’s subsequent films – perhaps most importantly L’eclisse (The Eclipse, 1962) – have exerted a greater long-term impact (his effect on the generations after the 1960s is something I’ll consider later). Un film che mette a nudo, con ironia amara e tagliente, la dissolutezza della borghesia benestante, ritraendo una vicenda sentimentale dalle tinte quasi grottesche e con dei toni che, seppure in maniera più univoca, sarcastica e pessimista, richiamano il Fellini de La Dolce Vita. Booed on its first showing by an audience expecting a conventional mystery story, L’Avventura is now regarded as a key work of European arthouse cinema and one of the peaks of Michelangelo Antonioni ’s coolly distanced style. Even when he did come back to film, to shoot L’avventura, all of his worst concerns came back to haunt him. But the map has been opened again by a new generation.