SRIFF is rescreened.
As the film progresses, I have been thinking about what Antonioni wants to express in such a film as a master of film history.
He can't be a suspense movie because he doesn't explain why Anna disappeared. This metaphysical arrangement also avoids the importance of allowing the audience to stare at Sandro and Claudia.
Until the end, Sandro still fooled around with other women. After crying, Claudia still chose to calm the crying Sandro. I understood what Antonioni meant: emptiness.
The emptiness of life and love seems to never be satisfied, and there is always a lack of enthusiasm for life. The seeming enthusiasm for love is actually only a short-term release.
Hanging shots on an isolated island several times left the actor on the edge of the cliff. The feeling of falling is full. The noise of the waves and wind, like the chaos scattered in the hotel afterwards, shows the sense of despair and powerlessness of human beings.
Through the mouth of the three actors, the director repeatedly shouted: "Why, why, why?" lines, but he still couldn't get an answer. There is no answer to Anna's disappearance. There is no answer to whether Sandro loves Claudia, anna's friend. Why do we no longer ask about three days ago and there is no answer. Yes, there is no answer to everything, only confusion and emptiness. This is the "modern man" in Antonioni's eyes.
Let’s talk about photography. Unlike Hollywood movies, this kind of literary and artistic movies don’t like to use the “cluttered” and “lazy” film shots of pros and cons. Instead, they use a large number of panoramas and picture composition plus scene scheduling to allow actors. The position of the game drives the trend of the storyline and the mood of the audience. It has to be said that it was still very advanced in 1960 and even now.
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