Looking at Antonioni, I feel a kind of extreme sadness. It is the kind of sadness that shatters the truth after piercing through all appearances. When what you believe in becomes illusory, sadness is just a superficial description, and the actual emptiness is as deep as despair. "Eclipse" is not a puzzling movie, but it is confusing enough. After wandering for a while in the path of the maze, Antonioni will lead you to the truth. Strip away the so-called happiness, and see the emptiness of the soul. When I finally saw Monica Witty walk out of Alain Delon’s apartment and escape the camera with an unpredictable expression, I confirmed this even more. I think her mood at this time should be nothing compared to the mood of avoiding Riccardo at the beginning of the film and standing alone at the window looking up at the sky. Actually Anthony O'Neill tells this story, it doesn't matter how chaotic the process is, he just wants you to see that everything will return to nothingness. Whenever we are always facing a confused external environment, we confuse our eyes and hear, and reverse black and white. But when you remove all of this from your life, you will discover the actual situation: we are blindfolded and go in a big circle. What I see now are my own footprints everywhere. So you can completely ignore the final agreement between Victoria and Pierrot, no matter whether they meet or not, how much impact will it have? Antonioni showed you the most beautiful set of continuous empty shots in the history of stream of consciousness at this time-branches flicking, water gurgling, buildings standing, water dragons opening and closing, children slipping past. What we regard as the supreme love life, love, hate or hatred, joy or sorrow, but as you see it, it becomes an accidental scene in life. Of course we can never escape this process, and Antonioni can't avoid it. He also needs to gradually transfer the audience's emotions through the plot to the audience's usual thinking trajectory before giving the fatal blow. Just as we have to experience a lot to understand some facts, truth has a simple form, but it is not simple. Fortunately, we can slowly indulge and appreciate this heart-wrenching process, watching the graceful figure of Momika Vitti shuttles through Antonioni’s images, soft and heavy, telling There is an illusion of speechlessness. Look at Alan Delong's young, handsome, upright face, the vigorous ambition and the incomprehensible sadness hidden under the seemingly frivolous charm. The varied perspectives and exquisite lens layout also cover Antonioni's deep melancholy. This is a kind of cruelty, especially when he is not unable to explain the essence of this predicament like ordinary people, but with infinite compassion, he uses a more graceful way to tell us an unspeakable concealment of life. No wonder I am confused in this beautiful light and shadow, my stupidity is protecting me in a gentle way. You can say goodbye to this world without understanding. Perhaps it is an alternative care of life.
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