Preceded by shorts: Kumbha Mela (Antonioni, India, 1977-89). Antonioni took part in and shot footage of this Indian religious festival. (18 mins) Noto Mandorli Volcano Stromboli Carnivale (Antonioni, Italy, 1992). Antonioni's most recent work, made for the Italian pavilion at the Seville Expo, harks back to his very first documentaries. "Although he is still suffering from half-paralysis (as the result of a stroke), on the eve of his eightieth birthday he went to Sicily (and) filmed eight minutes of breathtaking travelog of Sicilian venues, from carnival celebrations to overhead views of erupting volcanoes." (London Film Festival '92) (8 mins) (Identificazione di una donna). Identification of a Woman represents an important period for Antonioni. It is the Italian auteur's first real filmic effort at home after his three MGM films. By 1982, both Italy and Antonioni have matured. Change, in every form-emotional, physical, psychological, and temporal-becomes apparent when comparing Antonioni's Italy in Identification to his previous portrayals, especially Le amiche, L'avventura, or La notte. Identification contains the trademark conflicts. Chaos embroils the bourgeoisie. Complex personalities and heterosexual love problems fill the screen. Niccolo, a famous film director, searches for the "perfect woman"-one for his next film, and another for his real life. But here, Antonioni multiplies the conflict. His characters are immersed in a cloud of paranoia that has landed over modern-day Italy. Niccolo is shadowed by a gregarious gangster and finds flowers at his doorstep from his girlfriend's former lover/keeper. The plot is filled with flashbacks, flashforwards, and mind-screen peeks into characters' thought, which compounds Identification's complexity. Antonioni truly left us hanging with this open text.-Gustavo Lamanna