film creator does not provide the meaning of the work created. The person who wrote the mystery seems to give the participants great freedom, and Antonioni's film is a mystery without a mystery, a deep and dark bottomless pit.
"Adventure L'AVVENTUR" was shot with black and white images in the 1960s.
One of the "Adventures"-Anna and Sandro are a pair of lovers. During a sea trip, Anna suddenly disappeared on the island. Everyone began to stay on the island to search for Anna. Anna never appeared again.
"Adventure" 2-Sandlow developed affection for Anna's girlfriend Croatia shortly after Anna disappeared; another couple Girill and Klado during the outing, Girill confronts an upper-class painter in the second half of the film Love at first sight, falling in love; at the end of the film, Sandro betrayed his feelings again and entangled another woman ambiguously in the hotel.
Parallel to the structure of the story, the adventures correspondingly occur on the psychological level of the audience watching the movie.
First, compared to the usual complete script story, Anna will always appear again in a certain chapter of the film. Under the influence of the audience's Gestalt heart, Anna's appearance will even be arranged at the emotional transition between Croatia and Sandro. But Anna disappeared completely in the film, like a stone thrown into the sea.
Secondly, the director does not have any emotional color in the process of crossing the moral boundaries of the characters in the film, and described objectively and straightforwardly. Normally, the continuation of the storyline that the audience hopes for is often pinned on the strong value judgment of the audience itself. Antonioni even concealed the standard of judgment in the story, and the moral standard in the traditional value system collapsed.
When we can't borrow any emotional or intellectual framework to limit Antonioni's movies, we are in it, and all we feel is the vastness of the universe and the nothingness in loneliness.
It is very typical that when Sandro and Croatia arrived in a deserted town on their journey to find Anna, the church and the square in front of the church were empty. This is an extremely abstract scene, which implies objectiveness. The existence of things is separated from the subjective world of the characters, including all rules, restrictions, and treaties. No man's land symbolizes a moral vacuum zone, and then Sandlow and Croatia opened their hearts for the first time to accept each other. This is a return to the emotions that burst out of human nature in the natural state.
Even with this short-lived relationship, both Sandro and Croatia still have to face the solitary loneliness in the vast space and time. No one has a full sense of security. Time passes and the scene changes, from an uninhabited town to a secular world. At this time, Croatia has fallen in love with Sandro. She hoped in her heart that Anna would disappear forever, but Sandro disappeared at this moment. Sandro did not return overnight, and the series of events between when Croatia woke up and when she went out to search was very interesting. This was the moment when she lost her lover and faced herself alone. She didn't know that he had an accident. With other women, maybe she found Anna. Insecurity and helplessness enveloped her, but in the film she behaved abnormally, putting on her pajamas and squeezing her expression in front of the mirror. This lively side once appeared before she fell in love with Sandlow, she and her girlfriend dressed up My own scene. This series of actions seems to indicate that she is trying to rebuild her own world, an independent and safe world. But the audience saw Croatia put a smile in front of the mirror, and the air was freezing cold again, and she finally opened the door to look for Sandro.
Perhaps it is more appropriate to translate "betrayal" into "deviation" in "Qing Yu". The emotions between people are no longer firm, clear, and clear. Regardless of men and women, deviation, search, and circulation are the norm. After losing the moral restraint, how do people place their souls and desires? In the end, Sandro’s tears did not mean regret, but the tears of loss of spiritual home, displacement, and the face of an empty world.
I would like to end with two
lines of dialogue between Sandro and Croatia respectively in the film: Sandro: "Who needs beautiful things now? How long can they last? Everything that was built in the past will last for centuries. Now at most ten or twenty years, and then..."
Croatia: "I want to see everything clearly."
View more about L'Avventura reviews
