cry because of grievance

Shannon 2022-04-19 09:02:37

After watching it, I kept thinking, what is this movie going to say? Such a slow rhythm, a rambunctious plot, and actors who seem to be hypocritical to a modern person... All kinds of uncertainty and helplessness and a depressing atmosphere pervade.
At some later point it seemed like it dawned on me that it didn't matter what the movie said, it was the real point.
Analyzing the ideas conveyed by the story is tedious, and all kinds of analysis push the film to the dissection table. After thinking about the various symbols, various compositions, and various hints inside, there is no meaning.
Just like the unseen horror in a horror movie is scary. There is a kind of emotional state diffused in the adventure, using images and sounds... instead of telling a story. It's like blindfolded to identify the environment by smell: kitchen, hospital, church, toilet...
Watching this movie can't help but think of Ozu, stylized images, dull rhythm, creating a world that can be felt but cannot be expressed. In fact, this kind of feeling is very suitable for Chinese people. Chinese painting has always been about artistic conception. What is painted is not important, but the feeling conveyed is important... Why is it different later?
Regarding the constant shifting of the protagonist and the plot: we are planning our future all the time, we are constantly shifting our goals, changing our minds, and when we find out, we make up various excuses to explain our behavior—explain it to ourselves listen. But when a moment of inspiration flashes, you will find that you have actually been spinning around in the same place, and you have never been able to escape yourself. And so began to be very emptiness and depression... The world is like this, like life is day after day. What is the time? Something that cannot be measured.
About the slow pace: I remember what the book said, the fast pace of American movies, the slow pace of European movies, and the very, very slow pace of Asian movies. Now everyone is imitating American movies, and we are also learning, but we are not learning very well.
I like the feeling of changing perspectives, first a rich girl, then Monica, then a man for a while, and finally Monica...
why do you cry at the end? In front of the world (time, space, society, environment, people...) we are all children... Crying because of grievances~~

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Extended Reading
  • Deontae 2022-03-23 09:02:48

    1. I felt that the rhythm was a bit slow in the second brush. This is a disadvantage. I once brushed it because of the Cannes poster. 2. Space is something to be seen on the big screen. 3. A little bit of Hitchcock, yet Anna never appears again in the story to lead us to ponder what the real inner theme is, which makes it Antonioni, a personal opinion.

  • Virgie 2022-03-27 09:01:14

    The 9.6/10.0 trilogy, compared to the later work, added a lot of soundtracks to enhance the atmosphere, but continued its flat and soothing rhythm and time characteristics; the cold shots did not calm down for a long time, and it did not weaken Antonio. Nikki's representative, layered, and delicate composition creates a spatial effect brought by a geometrically beautiful picture. Combining the two, the emotions of the audience in the theater are easily brought into the characters and situations by Antonioni (although most of the people in the whole big bright cinema are sleeping), and he himself is still in a spectator. In the middle of the hall, he spoke eloquently. I thought that the ending would be the same as the later work, tending to distance and nothingness in silence; but in the handling of the close-up, everything has a temperature, and the Antonioni-style "coldness" is sublimated here. The slightly unattractive content is Antonioni's stubbornness, but in the constant blank processing, the modern humanistic and moral crisis and spiritual emptiness that can be extended to the whole human being, which are obscured and turbulent: This is where authorship comes from.

L'Avventura quotes

  • Claudia: To think that you must have told Anna these same things--I don't know, how many times.

    Sandro: Let's say I did. I was as earnest with her as I am now with you.

  • Sandro: I've never met a woman like you who needs to see everything clearly.