This comprehensive retrospective is a rare chance to explore the full range of an Italian modernist master’s formally dazzling work.Read full description
Antonioni’s first color film draws images of alarming beauty from environmental apocalypse as an industrialist’s wife (Monica Vitti) suffers a nervous breakdown. “Never has so bleak a vision of contemporary life been projected with more intensity” (Time).
“Antonioni’s 1962 masterpiece showcases Monica Vitti as his moodiest, most evasive heroine, drifting out of one affair and into another with Alain Delon’s mercurial stockbroker” (Village Voice). “Perhaps the director’s most savage blast of gorgeous B&W ennui” (Time Out).
A meditation on China in the throes of the Cultural Revolution. “The rarest of rare, this epic documentary is as legendary as it is unseen” (Cinematheque Ontario).
BAMPFA Student Committee Pick!
Film to Table dinner follows the August 25 screening
Novelist Marcello Mastroianni and his wife Jeanne Moreau play out a drama of marital disillusionment against Antonioni’s rigorous sense of place and architecture.
This late work is a resolutely idiosyncratic treatise on that most old-fashioned of themes: beauty. With John Malkovich, Marcello Mastroianni, Jeanne Moreau, Irène Jacob, Peter Weller, and Jean Reno. “One of the major films of the decade” (Film Comment).
Monica Vitti on a desert island in “a mystery that casually abandons its ostensible premise midway through. . . . Cinema as temporal sculpture” (Village Voice). “The first (and the definitive) film about the diminishing attention span of a modern world” (New York Times).
In 1982, Antonioni returned to the themes of his great 1960s films—alienation and ennui among the well-to-do—for this enigmatic, erotic work. “A brilliant, glittering piece of filmmaking . . . stunningly beautiful” (Sight & Sound).
Adapted from a drama by Jean Cocteau, the story of a queen (Monica Vitti), her king, a poet, and treachery and murder in an unidentified kingdom. “A work of dazzling ambition and achievement” (Time).
This evening’s program of shorts ranges from the island setting of L’avventura to India and Sicily. Plus Enrica Antonioni’s portrait of her husband’s passion for cinema, To Make a Film Is to Be Alive.
Decades later, Antonioni’s 1975 film “still packs a wallop. . . . This moody Jack Nicholson political thriller remains a great, bizarre film, full of beauty, mystery, and riddles with no answers” (Chicago Tribune).
BAMPFA Student Committee Pick!
An evening of short documentary and narrative works by the Italian master, including The People of the Po, Lies of Love, Superstition, The Villa of Monsters, Suicide Attempt (from the omnibus film Love in the City), and more.
Antonioni filmed the 1960s war between radical and straight cultures in L.A. and Death Valley, creating “a sorrowing, stranger’s-eye view of modern America” (Time Out).
“Simply put, the key movie of the 1960s. Set in a vividly mod Swinging London, Antonioni’s first English-language film [is] a cryptic murder mystery . . . a landmark of the decade’s observational outrage and Pop disposability” (Time Out).
Amid the desolate vistas of the Po Valley, “an angry working man wanders impulsively through a world that has no place for him. Pervasive mist, fluid compositions, and melancholy piano add to the disorientation” (Village Voice).
Antonioni inspects the social architecture of 1950s Turin in this portrait of a group of fashionable young women, “masterfully directed in Antonioni’s choreographic manner, with strong melancholic undertones” (Chicago Reader).
Three moral tales observe the dehumanized behavior of postwar youth; aimlessness is reflected in the landscape as much as in the action.
A Milanese shopgirl becomes a movie actress, but not a great one, in this expressive early melodrama. “Antonioni transcends the traditional hypocrisies of the soap-opera genre, [yet] never loses touch with the throbbing feelings of his characters” (Village Voice).
Antonioni’s first feature is loosely based on The Postman Always Rings Twice, but turns a torrid love story into a tale of corruption and betrayal in postwar industrial society.