Antonioni’s second feature is a key precursor to such famous later works as BLOW UP, THE PASSENGER and ZABRISKE POINT. Comprising three self-contained shorts, I VINTI dramatizes and alters true stories of murder and rebellious youth in France, Italy and England. For years the film (particularly the Italian segment) was banned or heavily censored around the world due to its politics and depictions of violence, but today it is celebrated for its frank portrayal of juvenile delinquency and crime. If the interference of anxious producers and distributors can still be felt, Antonioni’s singular vision of the isolation of Western youth culture is largely intact, making the film an essential part of his oeuvre.

“I knew I loved you, but I thought only of myself,” murmurs gorgeous Jeanne Moreau - after setting in motion a murderous plot involving her fat-cat husband, a young intelligence officer (Maurice Ronet) and some of the darkest twists and turns in French cinema. Made when Malle was only 25 years old, this film helped jump-start the French New Wave. The dazzling cinematography of Henri Decaë (who also shot THE 400 BLOWS) is enhanced by Miles Davis’ haunting jazz score.