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L'Avventura
1960
The Passenger
1975
La Notte
1961
L'Eclisse
1962
Red Desert
1964
Breathless
1960
8½
1963
La Dolce Vita
1960
Zabriskie Point
1970
Blow Out
1981
Pierrot le Fou
1965
The Discreet Charm of the Bourgeoisie
1972
L'Avventura(Movie)The Passenger(Movie)La Notte(Movie)L'Eclisse(Movie)Red Desert(Movie)Breathless(Movie)8½(Movie)La Dolce Vita(Movie)Zabriskie Point(Movie)Blow Out(Movie)Pierrot le Fou(Movie)The Discreet Charm of the Bourgeoisie(Movie)
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The moment where Hemmings discovers the 'murder', is a masterful bit of editing that is worth your time alone. The atmosphere of '60s London and the decadence of its inhabitants lead to some absurd situations, which has always been a guilty pleasure of mine. I wasn't as interested in the main characters' enigmatic state of being as I should have been, but as it is my first Antonioni-film, I found it admirable enough to delve into his other work. read
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i didn't enjoy this at all. i couldn't get into it. i didn't actually get it either. the first hour is interminable, following around the random actions of an insufferable character; i was checking the time, wishing i knew when the rest of the movie started. and then it did... but wait, those 2 wanna-be models are back! ok, back to it now.... and then it was over. i just can't give it higher than 3 stars. i suppose it played quite differently in its time, and still does for people who are familiar with the culture and understand what certain scenes communicate. read
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i understand this film is important for a lot of people- didn't speak to me at all read
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i'm not going to pretend i know what antonioni was going for here. there is a mystery but that isn't the focus and he loses interest in telling that story pretty quickly. i read the film as a critique of 60s counterculture and hedonism and the real story is thomas' disillusionment with his lifestyle of passing pleasures. i'm certain that isn't what was intended, but i can't come up with any other interpretation that doesn't make me say it is piece of shit. i really am underwhelmed by most of the mid-century european auteurs. they are so focused on capturing emotion on film that they forget to... read
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Been wanting to see this for a while now. Hemmings plays a photographer who while he takes some innocent photos in a park might have inadvertently takes what he believes is a murder. Vanessa Redgrave is the other lead here playing a mysterious lady that he comes across. It's a slow burn thriller but it was well made and I particularly loved London in the 60's. read
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Blow-Up: In the Details
By David Forgacs
ESSAYS — MAR 28, 2017
Blow-Up was the first of three films Michelangelo Antonioni made outside Italy under a contract with producer Carlo Ponti at MGM, and it was the most successful of his career, both commercially and critically. It won the Palme dOr at Cannes in 1967, and many critics saw it as a refreshing change in pace and style for a director whose preceding work they had considered artistically important but “difficult.” Robin Wood wrote in 1968 that “its freshness and vivacity make one look forward to his future work with an eagerness one... read
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A única coisa que não consegui comprar foi o Draco Malfoy galã… de resto: masterpiece. read
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Ща бы искать смысл в фильме от челиков, которые как минимум два раза по-детски спалили оператора в кадре. Ну, это будет прям лютый спгс и вообще похоже на серию из саус парка про занюхивание собственного пердежа. read
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منذ بزوغ فجر السينما ظهر نهجين أساسيين في تناول المواضيع او الحكايات لويس واغسطس لوميير اللي اخترعوا السينماتوغراف اللي هو اصل السينما، فضلّوا انهم يستخدموها في تقديم مقاطع تسجيلية لوقائع الحياة اليومية واطلقوا على المقاطع اللي كانت لا تتعدى الدقيقتين اسم actualities الاتجاه التاني سلكه جورج ميليس، استخدم الخدع المسرحية ونقلها للسينما، وده قبل تطور المونتاج على يد السوفييت، فكان ميليس بيوقف الكاميرا ويرجع يشغلها تاني، فالموضوع المصور كان بيختفي، كانت مجرد حيلة بنى عليها افلام ثم جاءوا السوفييت ومعهم تقنيات المونتاج والمعنى اللي بيظهر من تجاور اللقطات جنب بعضها على المشاهد الناس بقى اللي بتدرس... read
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