When linguists including Roland Barthes, film critics, film scholars, and film lovers from all walks of life have thoroughly studied Antonioni to the extreme, almost all film fans will even reflex "life" whenever they talk about Ans. Key words such as "flow", "crisis of civilization", "industrialization age" and "human nature", and now Cannes has turned over the old account, and grabbed such a freeze frame with obvious intention, which means something other than paying tribute to memory. In my opinion, That is to say, it is not too late, or even just in time, to talk about Anshi again, or to reconstruct Anshi's film system in combination with the present.
"Adventure" is an "adventure" experienced by a group of seemingly idle middle class - a young woman Anna with a domineering father, her boyfriend Sandro, girlfriend Claudia and several young people came to a deserted island for a vacation. There is nothing new in the ordinary and repetitive flow of life, but there is a huge gap between the pure natural volcanic landscape and the people who go to play. The friction between Anna and Sandro is enough to crush a person. In the mood, Anna disappeared since then, and the rest of the people embarked on a casual search - during this time, the instinct of human nature began to mutate and ferment. Then the plot develops towards a melodrama mode that seems to be vulgar and outdated. The two people who are looking for it together have a secret love, but the body of the missing Anna has never been seen again, and there is only a feminine atmosphere left, which will always occupy Inside Sandro and Claudia.
It is self-evident that in "Adventures", "love" is not "love", and "adventures" are not "adventures". All the conditions that can thread the needle, create suspense, and support the plot in traditional narratology are all based on the theme. In addition, if "modern love" really has its name, it is the multiple meanings of "modern": under the premise that industrialization has come to Italy with a prairie force, people's anxiety has reached an unprecedented state of chaos. The logical rules of action are destined to pass no matter what the cause and the end result, and Anshi's film is in such a general "modern" attitude, as if the title of his debut work - "a record about a certain love".
And to record love, Antonioni is not limited to the Italian neo-realism that was at the end of the road at the time, just like "Red Desert" built a surging color world, just like "Zabriskie Point" in the desert above the wild harmony, just like Like the street scene shot at the end of "Eclipse". The beauty of "Adventures" is also praised by the Cannes jury. It comes from Antonioni's new exploration of the language of film itself, a kind of loneliness created by playing with the camera editing table without color or strangeness. Temperament, An's films themselves have an indescribable sense of loneliness. If this loneliness leads Angelopoulos' protagonist to embark on a journey of homecoming, then it leads Antonioni's protagonist to the realm of death-because That kind of nervousness that appears calm and panicked inside is a ticking time bomb on the verge of collapse.
It is true that the viewers in the 1960s had this thought, and it was not in vain for An’s painstaking efforts to complete such a precise and meticulous "Adventure" under the difficult and difficult shooting conditions, but if the foresight of art stops there, then Of course, Cannes doesn't have to "invite" back the back of Monica Vitti for its 62nd birthday. When the financial crisis swept Europe and the United States, it seemed that the anxiety buried in the urban crowd was once again reflected in the credit crisis, as if the final work of the "Modern Love Trilogy" - also won the Jury Prize at the Cannes International Film Festival ——The stock trading market that was magnified by extreme exaggeration in "Eclipse" is normal. A war about money, trust is the bottom, and a tumultuous war has started in the global village. The distrust between people, the collision of reason and sensibility, in the money Pull it down and see it all. While Antonioni does not attempt to resolve this crisis in his work (these states are themselves irreconcilable, according to the paradox of modernism), at least the trilogy, led by Adventures, are continuing their wake-up call The mission of the world, the true essence of this film art, is the immortal spirit that An's bequeathed to future generations.
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