The love trilogy or the first part of the alienation trilogy has not weakened the narrative too much compared to the latter two, so the story is still complete. Like other Antonioni-directed films that show characters estranged from the world, the heroine serves as the subject of estrangement, and the male protagonist and other characters serve as figurative images of modern society.
But this film should have two heroines. The reason why the first female protagonist Anna and the male protagonist Sandro estranged was because she lost her feeling in a different place, so she wanted to regain her feeling through communication. But the male protagonist laughed at her for not having sex yesterday, didn't it make you feel? The male protagonist equates sex with love and pursues material things such as passion and lust. The heroine pursues the spiritual power of love and feeling. This is the reason why the heroine Anna disappeared.
The male protagonist went to hook up with the second female protagonist Claudia just after his girlfriend Anna disappeared. This is because he obeyed desire and hoped to fill his empty inner world with Claudia. The passers-by as the background and those who attended the party also showed obscene expressions when they saw the heroine. After seeing the female protagonist, the doctor said a lot of information that he did not want to tell the male protagonist. As an artist, the little prince even deliberately depicts women's bodies in his works to amplify his sexuality. This is the commonality of this society. People are indulged in the sensual world of sexuality and flesh, instead of pursuing love and other spiritual spaces that transcend the material. So after the banquet ended, the heroine went to bed, and found a prostitute who looked exactly like Anna to fill his emptiness.
And the female protagonist Claudia, like Anna, also has sexual needs, so she will have sex with the male protagonist. But they all pursue spiritual things, to make sure that the male protagonist really loves her. When the male protagonist showed his love to the female protagonist on the train, the female protagonist first said: I don't believe you, and then said that you were still making out with Anna three days ago. She rejected him first not because she felt sorry for Anna, but because she didn't believe that the male protagonist really loved her when he showed his love so quickly.
In the grocery store, the female protagonist asked the male protagonist to say that he loved her, and then said that the male protagonist must have told Anna countless times. The male protagonist said: I have never seen such a woman, I want to find out everything. The male lead is completely submissive to sexual desire, so he doesn't understand how important it is to the female lead to be sure that he really loves the female lead. This is also why the heroine must let the hero say that she loves her so that she can fall asleep at ease. When the hostess says I'm going to be your hands and feet, you'll be paralyzed without me. The female protagonist wants to make sure that the male protagonist really loves him and treats her as part of her body. But the male protagonist was distracted, much to the disappointment of the female protagonist.
The first part of the trilogy shows us the first dilemma of modern society: people are indulged in the sensual pleasure of sexual desire, and the material intoxication, leaving a huge spiritual desert.
In the end, the male protagonist's cry was to discover the huge emptiness behind his sexuality, and to realize that he was trapped in the cage of money and sex and could not get out of this spiritual desert. The heroine chose to forgive him, which is an optimistic ending, indicating that the director believes that as long as we can recognize this predicament, human beings can still achieve the detachment of their souls.
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