The third, and, most feel, the best, of the five very personal features Roberto Rossellini made with Ingrid Bergman, Voyage to Italy is the key link between neorealism and the subjective cinema of the early sixties. Bergman and George Sanders play an English couple on a visit to Italy to sell a family mansion. The film is “about” the disintegration and regeneration of their marriage; on a deeper level, it is about the spiritual needs of modern men and women in a world in which men, due to their roles in capitalist society, are seen by Rossellini as more alienated (and psychologically handicapped) than women. If this theme anticipates Antonioni, so does the treatment which rejects “plot” for a direct, intuitive cinema that exploits the tensions between actor and character, characters and landscape, documentary and symbolic shots, in a way that is, for 1953, nothing short of revolutionary.