IL GRIDO
1957, Compass Film, 116 min, Italy/USA, Dir: Michelangelo Antonioni

Commonly described as a link between the Italian neorealist movement and Antonioni’s most famous works of the following decade, IL GRIDO follows a disillusioned working-class man (Steve Cochran) who voluntarily detaches himself from all facets of society. Disappointed by everyone in his life, including his lover (Alida Valli), the man wanders the Po Valley, vainly searching for human connection. As in his best films, Antonioni sets a thoroughly bleak tone throughout by hermetically enclosing his characters in chilling landscapes and stark industrial environments. Winner of the Golden Leopard Award at the 1957 Locarno International Film Festival.


L'ECLISSE
ECLIPSE
1962, Janus Films, 126 min, Italy/France, Dir: Michelangelo Antonioni

The concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise (following L'AVVENTURA and LA NOTTE) tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) and drifts into a relationship with another (Alain Delon). Using the architecture of Rome as a backdrop for the doomed affair, Antonioni achieves the apotheosis of his style in this return to the theme that preoccupied him the most: the difficulty of connection in an alienating modern world.


L'AVVENTURA
1960, Janus Films, 143 min, Italy/France, Dir: Michelangelo Antonioni

Michelangelo Antonioni invented new film grammar with this masterwork. An iconic and challenging piece of 1960s cinema, and a gripping narrative on its own terms, L'AVVENTURA concerns the enigmatic disappearance of a young woman during a yachting trip off the coast of Sicily, and the search taken up by her disaffected lover (Gabriele Ferzetti) and her best friend (Monica Vitti, in her breakout role). Antonioni’s controversial international sensation is a gorgeously shot tale of modern ennui and spiritual isolation. The audience during the film’s premiere at the Cannes Film Festival infamously shouted “CUT! CUT! CUT!” in multiple scenes; no one is shouting cut now.


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