I re-watched it at the Film Archive, the last time I watched it was before my undergraduate degree.
The Chinese translation of this film is called Qi Yu, which is too paranoid, because except for Anna's disappearance for no reason, almost all the language of this film is to dissolve "qi". Although the sequence of Anna's disappearance takes up a long time, Antonioni is by no means handling the disappearance as a major event. The creation of the scene on the island is not even as good as the scene where the two men are crowded and staring at the female body. The English title is more to the point and more concise, The Adventure , a "modern" adventure in its own right.
Starting from Antonioni's film language, there are interesting spatial counterpoints in this film, and the interior/exterior processing in the image and sound effects forms an interesting contrast. In the long sequence of Anna's disappearance at the beginning, the audience is forced to listen to the noisy ambient sounds on the location - the sound of the waves, the wind, the poor quality post-dubbing (technical issues). In the interior scenes where the characters have to enter, such as the stone house on the island, the interval between the lines is an unpleasant silence. In the video, although Antonioni used a lot of wide-angle lenses and deep depth of field, he didn’t shoot wide-open exterior scenes. The large area of rocks in the black-and-white image made the picture look very blocked. On the contrary, the director used the movement of the characters in the space to move. Change scene.
After Anna's disappearance has become a foregone conclusion, the film gradually enters the sound of the interior scene. There are two scenes that best illustrate this contrast between interior and exterior scenes. One is when Sandra and Claudia ascend the bell tower of the church, and the nun exits. The lines that Sandra complained about can also be regarded as the director's ideological output - "In the past, these buildings could survive for centuries, but what is now outdated in 20 years." The camera did not hesitate to show the broken walls of the ancient buildings. Ruined, Claudia struggled with whether her actions were morally wrong, and the bell tolled in her dismay still got a response. But the next scene slipped from an open exterior to a closed interior. The two were in a small hotel room. The audience heard the decadent music on the radio. The men and women used their body shadows (illuminated by artificial light) in the dim lighting of the interior. The extension) flirting, obscene, but not romantic, Sandra even drew the curtains, because the church was visible in the frame of the window, which perhaps echoes the beginning when Sandra flirted with Anna and was overwhelmed in the depths of the window frame. Claudia. Claudia asks Sandra if he loves him, and he doesn't respond positively, even the occasional bell can be answered, love or not love, this serious question, but no answer.
After this interior scene, Claudia and Sandra abandon their mission to find Anna, and let go of their hypocritical morals (which they don't even know what it is). They know each other well that this mission does not need to exist, and Anna's disappearance happens to be their common "trauma", and this "trauma" can lead to more stories.
This is the modern love that Antonioni is trying to express. At the beginning of the film, Ana complains to Claudia that she is uncomfortable being together for too long. The relationship between men and women in this movie is an "adventure" between each other. Although it can't be said that you chase me away, they have been teasing and testing each other. Just as Sandra never thought that one of his designs could earn 5 million liras, he also has no religious plans for love, and is just as speculative as his life. Sandra was so bored that she deliberately knocked over the ink and ruined the young people's copying of ancient buildings. Sandra sat in front of the TV for less than a minute before standing up. She was so bored that she lingered on the sofa with the beauties she had met before. The last thing she left for the beauties was crumpled banknotes.
And Claudia is by no means a bitter woman. Although she is not as speculative as Sandra, she is also a person with an empty heart. She's too bored to fall asleep and starts counting numbers, worried that Anna's coming back will ruin her relationship with Sandra, when not so long ago she'd worried that her and Sandra falling in love quickly would be unethical. What keeps her up at night at the end of the film? Sandra's half-joking affection before leaving sounds like a game. Is she afraid of losing him? Or does his existence justify his own desires?
In the film's ideographic system, whether it's the disappearance, the gust of wind on the island, or the scattered branches in the hall at the end. The nature that belongs to the exterior is cold, and God watches all this with a cold eye. The interior, however, is negative, decadent, and even obscene. Antonioni doesn't need class-struggle-style slogans, and uses the language of the film to dig a bunch of high society. In the sequence at the end, the panorama can see the bell tower that belongs to the church reappearing. Claudia, who was crying, stared at Sandra's sobbing back sitting on the chair, and was still hesitating whether to reach out and touch him. Even comforting her lover became an option, but unnecessary action. Sandra indulges in a woman's beautiful face and sexy body, and Claudia also needs such a man to stare at herself. Both men and women linger in the upper class and cannot extricate themselves. Is this love? No, it's Antonioni's modern love.
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