Close-Up is a feature that spotlights films now playing on Mubi. Michelangelo Antonioni's L'eclisse (1962) is now showing April 18 - May 17, 2020 in the United Kingdom.It starts with a breakup, the dissolution of a relationship between two bourgeois Italians taking place in a stifling atmosphere of all-night contention. But by the end of Michelangelo Antonioni’s L’eclisse, the ultimate breakdown, which likewise encompasses the cessation of yet another engagement, also strikes a more spacious, reverberating chord, portending the suspension of a fractured society and perhaps the world at large. Released in 1962, following L’avventura (1960) and La note (1961), the kindred features of what has been dubbed Antonioni’s “Trilogy of Alienation,” L’eclisse similarly hosts a congregation of emblematic individuals standing in for their class and culture, as well as embodying an entirely revelatory mode of philosophical and psychological bearing. Though seldom voiced in any explicit fashion—these are films defined by a...
- 4/14/2020
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSClaude Lanzmann, Simone de Beauvoir, Jean-Paul Satre, 1967. Photo via Rithy Panh.Shoah director and singular cinematic chronicler of the Holocaust, Claude Lanzmann has sadly left us. Daniel Lewis provides a comprehensive remembrance for The New York Times. Last year, we wrote on his last five films films, Napalm and The Four Sisters, a quartet of documentaries.Recommended VIEWINGEven through his perhaps more artistically compromised mainland blockbusters, we remain dedicated fans of Tsui Hark's daring, punk cinematic vision. We especially highly regard his Detective Dee films, and thus are very excited for the forthcoming Detective Dee: The Four Heavenly Kings, which has received this ecstatic new trailer.An oddly modern trailer showcasing the new gorgeous restoration of Jacques Rivette's first masterpiece (starring Anna Karina!), The Nun (1966). In a qualitative sense, Yorgos Lanthimos' films...
- 7/11/2018
- MUBI
Scores on Screen is a column by Clare Nina Norelli on film soundtracks.When French documentarian Alain Resnais was commissioned to produce a short film about the 1945 bombing of Hiroshima, it initially seemed to him an impossible and daunting task. How does one convey onscreen the sheer magnitude of the horrific atomic attack and its devastating effects; how to reproduce on celluloid the ongoing trauma of that fateful August morning as experienced by the Japanese people? Resnais ultimately decided to focus his film on the “impossibility” of talking about, or fully knowing, the tragedy of Hiroshima. Eschewing the documentary form he was familiar with, the director instead embarked on his first narrative film, Hiroshima, mon amour (1959), enlisting the help of the celebrated French writer Marguerite Duras to write the film’s scenario and dialogue. Resnais still retained documentary-style images of the ruins of Hiroshima and the city’s survivors, but...
- 7/9/2018
- MUBI
Michelangelo Antonioni's pre-international breakthrough drama is as good as anything he's done, a flawlessly acted and directed story of complex relationships -- that include his 'career' themes before the existential funk set in. It's one of the best-blocked dramatic films ever... the direction is masterful. Le amiche Blu-ray The Criterion Collection 817 1955 / B&W / 1:37 flat full frame / 106 min. / available through The Criterion Collection / Street Date June 7, 2016 / 39.95 Starring Eleonora Rossi Drago, Gabriele Ferzetti, Franco Fabrizi, Valentina Cortese, Madeleine Fischer, Yvonne Furneaux, Anna Maria Pancani, Luciano Volpato, Maria Gambarelli, Ettore Manni. Cinematography Gianni De Venanzo Film Editor Eraldo Da Roma Original Music Giovanni Fusco Written by Suso Cecchi D'Amico, Michelangelo Antonioni, Alba de Cespedes from a book by Cesare Pavese Produced by Giovanni Addessi Directed by Michelangelo Antonioni
Reviewed by Glenn Erickson
It's time to stop being so intimidated by Michelangelo Antonioni. His epics of existential alienation La notte, L'eclisse and...
Reviewed by Glenn Erickson
It's time to stop being so intimidated by Michelangelo Antonioni. His epics of existential alienation La notte, L'eclisse and...
- 6/4/2016
- by Glenn Erickson
- Trailers from Hell
Hiroshima mon amour
Written by Marguerite Duras
Directed by Alain Resnais
France/Japan, 1959
The first thing we see is a textured image of ash covered bodies. Indistinctly illuminated limbs are entwined in what appears to be a passionate embrace. Glistening particles of dust sprinkle down like snowfall. Then comes the dialogue. A woman recalls the devastating effects of the atomic bomb dropped on Hiroshima Aug. 6, 1945. She says she saw it all. A man says she didn’t see a thing. “How could I not have seen it?” she questions. We see images of it, but some of it is staged, presented for the camera, possibly from her point of view. That is, if she’s telling the truth. There is a graphically unsettling montage of photographs, reconstructions, and Japanese films, all chronicling the attack; there is a morbid museum containing artifacts of that fateful day, haunting reminders of the physical and material destruction.
Written by Marguerite Duras
Directed by Alain Resnais
France/Japan, 1959
The first thing we see is a textured image of ash covered bodies. Indistinctly illuminated limbs are entwined in what appears to be a passionate embrace. Glistening particles of dust sprinkle down like snowfall. Then comes the dialogue. A woman recalls the devastating effects of the atomic bomb dropped on Hiroshima Aug. 6, 1945. She says she saw it all. A man says she didn’t see a thing. “How could I not have seen it?” she questions. We see images of it, but some of it is staged, presented for the camera, possibly from her point of view. That is, if she’s telling the truth. There is a graphically unsettling montage of photographs, reconstructions, and Japanese films, all chronicling the attack; there is a morbid museum containing artifacts of that fateful day, haunting reminders of the physical and material destruction.
- 7/21/2015
- by Jeremy Carr
- SoundOnSight
Criterion digitally restores its previous edition of Alain Resnais’ landmark directorial debut, Hiroshima Mon Amour, a jagged cornerstone of the French New Wave, which forever associated the reluctant auteur with one of the most acclaimed cinematic movements to date. Roughly preceding the renowned debut of Jean-Luc Godard and released the same month as Francois Truffaut’s The 400 Blows (they competed against one another at Cannes), Resnais’ contribution changed the way we regarded linear narrative and flashback sequences, and much like those iconic works of his peers, now bears several decades worth of critical acclaim on its shoulders. Tragic, moody and ultimately a poetic exchange of present interludes shattered by ghosts of the recent past, Resnais begins with motifs he would remain fascinated with throughout his career, the nature of remembrance and recollection, instances as shattered as the narrative chronologies in his films.
Fourteen years after the atomic bomb laid waste to Hiroshima,...
Fourteen years after the atomic bomb laid waste to Hiroshima,...
- 7/14/2015
- by Nicholas Bell
- IONCINEMA.com
“He Said/She Said—Reflections On Love, Unreliable Memories, And The Atomic Bomb”
By Raymond Benson
Director Alain Resnais achieved worldwide acclaim with his documentary short, Night and Fog (1955), which revealed to the world the true horrors of what went on in the Nazi concentration camps. For his first feature film, Resnais turned to fiction; and yet, he maintained a somewhat documentary approach in showing the world the true horrors of what occurred in Hiroshima, Japan when the first atomic bomb was dropped. Beyond that, Hiroshima mon amour (“Hiroshima, My Love”) is an art film that not only signaled the beginning of the French New Wave (although many film historians do not count it as an example of that movement), it also established Resnais’ singular, enigmatic and ambiguous style as an auteur. The director would go on to make even more thematically-mysterious pictures (namely Last Year at Marienbad) and become...
By Raymond Benson
Director Alain Resnais achieved worldwide acclaim with his documentary short, Night and Fog (1955), which revealed to the world the true horrors of what went on in the Nazi concentration camps. For his first feature film, Resnais turned to fiction; and yet, he maintained a somewhat documentary approach in showing the world the true horrors of what occurred in Hiroshima, Japan when the first atomic bomb was dropped. Beyond that, Hiroshima mon amour (“Hiroshima, My Love”) is an art film that not only signaled the beginning of the French New Wave (although many film historians do not count it as an example of that movement), it also established Resnais’ singular, enigmatic and ambiguous style as an auteur. The director would go on to make even more thematically-mysterious pictures (namely Last Year at Marienbad) and become...
- 6/30/2015
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
L’eclisse
Directed by Michelangelo Antonioni
Written by Michelangelo Antonioni and Tonino Guerra
Italy, 1962
L’eclisse is the third film in Michelangelo Antonioni’s so-called “Trilogy of Alienation,” the preceding works having been L’avventura and La notte. (With justification, some would argue that Red Desert, his next film, truly rounds out what would then be considered a tetralogy). While the three films taken together do explore many of the same themes relating to spiritual emptiness, the disbanding of relationships, and a struggle to communicate in an increasingly modern and alienating world, L’eclisse differs from the two earlier works most notably in its increasingly experimental style and its blatant departures from conventional storytelling and formal design.
A tumultuous relationship begins L’eclisse, as we arrive in medias res, near the end of the rather unpleasantly crumbling relationship between Riccardo (Francisco Rabal) and Vittoria (Monica Vitti). Inside Riccardo’s claustrophobic home,...
Directed by Michelangelo Antonioni
Written by Michelangelo Antonioni and Tonino Guerra
Italy, 1962
L’eclisse is the third film in Michelangelo Antonioni’s so-called “Trilogy of Alienation,” the preceding works having been L’avventura and La notte. (With justification, some would argue that Red Desert, his next film, truly rounds out what would then be considered a tetralogy). While the three films taken together do explore many of the same themes relating to spiritual emptiness, the disbanding of relationships, and a struggle to communicate in an increasingly modern and alienating world, L’eclisse differs from the two earlier works most notably in its increasingly experimental style and its blatant departures from conventional storytelling and formal design.
A tumultuous relationship begins L’eclisse, as we arrive in medias res, near the end of the rather unpleasantly crumbling relationship between Riccardo (Francisco Rabal) and Vittoria (Monica Vitti). Inside Riccardo’s claustrophobic home,...
- 6/26/2014
- by Jeremy Carr
- SoundOnSight
Composer who scored nearly every Merchant Ivory film from The Europeans onwards and was an integral part of the brand
The Guinness Book of Records notes that the 44-year collaboration between the Indian producer Ismail Merchant and the American director James Ivory was the longest in the history of cinema. They might equally have added the screenwriter Ruth Prawer Jhabvala, who joined the duo from the start. And a member of Merchant Ivory Productions for almost as long was the composer Richard Robbins, who has died after suffering from Parkinson's disease, aged 71.
The Ivory-Robbins working partnership, which lasted over three decades, outdid in longevity such celebrated director-composer unions as Federico Fellini-Nino Rota, Michelangelo Antonioni-Giovanni Fusco and Alfred Hitchcock-Bernard Herrmann. Robbins scored nearly every Merchant Ivory production from The Europeans (1979) onwards, and was an integral part of the film company's brand.
The reason for the...
The Guinness Book of Records notes that the 44-year collaboration between the Indian producer Ismail Merchant and the American director James Ivory was the longest in the history of cinema. They might equally have added the screenwriter Ruth Prawer Jhabvala, who joined the duo from the start. And a member of Merchant Ivory Productions for almost as long was the composer Richard Robbins, who has died after suffering from Parkinson's disease, aged 71.
The Ivory-Robbins working partnership, which lasted over three decades, outdid in longevity such celebrated director-composer unions as Federico Fellini-Nino Rota, Michelangelo Antonioni-Giovanni Fusco and Alfred Hitchcock-Bernard Herrmann. Robbins scored nearly every Merchant Ivory production from The Europeans (1979) onwards, and was an integral part of the film company's brand.
The reason for the...
- 11/13/2012
- by Ronald Bergan
- The Guardian - Film News
Jan 04, 2011
Hiroshima mon amour was the first feature directed by Alain Resnais. Besides establishing the director's international reputation, the film was one of several released in 1959 signalling the emergence of a new generation of French filmmakers working in a modernist narrative vein. Indeed, the film is considered something of a landmark in the history of modernist cinema. The film is also seen as an exemplary instance of artistic collaboration. The scenario by Marguerite Duras, photography of Sacha Vierny, editing of Henri Colpi, and musical score by Giovanni Fusco and Georges Delerue contribute to its ...Read more at MovieRetriever.com...
Hiroshima mon amour was the first feature directed by Alain Resnais. Besides establishing the director's international reputation, the film was one of several released in 1959 signalling the emergence of a new generation of French filmmakers working in a modernist narrative vein. Indeed, the film is considered something of a landmark in the history of modernist cinema. The film is also seen as an exemplary instance of artistic collaboration. The scenario by Marguerite Duras, photography of Sacha Vierny, editing of Henri Colpi, and musical score by Giovanni Fusco and Georges Delerue contribute to its ...Read more at MovieRetriever.com...
- 1/4/2011
- CinemaNerdz
Michelangelo Antonioni's 1964 film Red Desert is a bleak exploration of mental illness, alienation and environmental decay. The film is abstract, challenging and is arguably one of the most beautifully composed and photographed cinematic works of the past 5 decades. Honestly.
The film's tone is established immediately. The title sequence unfolds with panning out-of-focus shots of an industrial shipyard. The sequence abruptly cuts to an image of a refinery pipe shooting giant orange flames into the ash grey sky. In the next shot, the camera pulls back to reveal that the sky is gray due to smoke billowing from a nuclear cooling tower. The central characters are then introduced. Giuliana Salviatii (Monica Vitti) and her son Valerio arrive at the factory where her husband Ugo (Carlo Chionetti) is the manager. Ms. Salviatti was recently in a car accident, which has left her mentally unstable. Upon finding her husband, she meets Corrado...
The film's tone is established immediately. The title sequence unfolds with panning out-of-focus shots of an industrial shipyard. The sequence abruptly cuts to an image of a refinery pipe shooting giant orange flames into the ash grey sky. In the next shot, the camera pulls back to reveal that the sky is gray due to smoke billowing from a nuclear cooling tower. The central characters are then introduced. Giuliana Salviatii (Monica Vitti) and her son Valerio arrive at the factory where her husband Ugo (Carlo Chionetti) is the manager. Ms. Salviatti was recently in a car accident, which has left her mentally unstable. Upon finding her husband, she meets Corrado...
- 6/20/2010
- Screen Anarchy
Michelangelo Antonioni's 1964 film Red Desert is a bleak exploration of mental illness, alienation and environmental decay. The film is abstract, challenging and is arguably one of the most beautifully composed and photographed cinematic works of the past 5 decades. Honestly.
The film's tone is established immediately. The title sequence unfolds with panning out-of-focus shots of an industrial shipyard. The sequence abruptly cuts to an image of a refinery pipe shooting giant orange flames into the ash grey sky. In the next shot, the camera pulls back to reveal that the sky is gray due to smoke billowing from a nuclear cooling tower. The central characters are then introduced. Giuliana Salviatii (Monica Vitti) and her son Valerio arrive at the factory where her husband Ugo (Carlo Chionetti) is the manager. Ms. Salviatti was recently in a car accident, which has left her mentally unstable. Upon finding her husband, she meets Corrado...
The film's tone is established immediately. The title sequence unfolds with panning out-of-focus shots of an industrial shipyard. The sequence abruptly cuts to an image of a refinery pipe shooting giant orange flames into the ash grey sky. In the next shot, the camera pulls back to reveal that the sky is gray due to smoke billowing from a nuclear cooling tower. The central characters are then introduced. Giuliana Salviatii (Monica Vitti) and her son Valerio arrive at the factory where her husband Ugo (Carlo Chionetti) is the manager. Ms. Salviatti was recently in a car accident, which has left her mentally unstable. Upon finding her husband, she meets Corrado...
- 6/19/2010
- Screen Anarchy
What you are listening to:
A little medley from some of the films playing for free in our festival of Cannes selected favorites. Go here to see what films are viewable for free in your area.
"Titoli: Atmosfera Tensiva" by Giovanni Fusco. From Michelangelo Antonioni's L'avventura (1960).
"Cucurrucucu Paloma (Live)" by Caetano Veloso. From Wong Kar-wai's Happy Together (1997).
"Ti ricordi di siboney" by Nino Rota. From Federico Fellini's Amacord (1974).
"Mesecina (Moonight)" by Goran Bregovic. From Emir Kusturica's Underground (1995).
"My Favorite Things (Rehearsal)" by Björk. From Lars von Trier's Dancer in the Dark (2000).
"Eternal Smile" by Chow Hsuan. From Johnnie To's Election (2005).
"Notturno II" by Giovanni Fusco. From Michelangelo Antonioni's L'avventura (1960).
"Not Human" by Javier Navarette. From Guillermo Del Toro's Pan's Labyrinth (2006).
"Siegfried's Funeral March" by Richard Wagner. From Aleksandr Sokurov's Moloch (1999).
"Harakiri" by Toru Takemitsu. From Masaki Kobayashi's Harakiri (1962).
"Chunga's Revenge" by Frank Zappa.
A little medley from some of the films playing for free in our festival of Cannes selected favorites. Go here to see what films are viewable for free in your area.
"Titoli: Atmosfera Tensiva" by Giovanni Fusco. From Michelangelo Antonioni's L'avventura (1960).
"Cucurrucucu Paloma (Live)" by Caetano Veloso. From Wong Kar-wai's Happy Together (1997).
"Ti ricordi di siboney" by Nino Rota. From Federico Fellini's Amacord (1974).
"Mesecina (Moonight)" by Goran Bregovic. From Emir Kusturica's Underground (1995).
"My Favorite Things (Rehearsal)" by Björk. From Lars von Trier's Dancer in the Dark (2000).
"Eternal Smile" by Chow Hsuan. From Johnnie To's Election (2005).
"Notturno II" by Giovanni Fusco. From Michelangelo Antonioni's L'avventura (1960).
"Not Human" by Javier Navarette. From Guillermo Del Toro's Pan's Labyrinth (2006).
"Siegfried's Funeral March" by Richard Wagner. From Aleksandr Sokurov's Moloch (1999).
"Harakiri" by Toru Takemitsu. From Masaki Kobayashi's Harakiri (1962).
"Chunga's Revenge" by Frank Zappa.
- 6/2/2010
- MUBI
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