578:) returns to his high-rise apartment to find it empty. He gets a phone call from his wife who has just emptied the apartment of most of their belongings and left him. After a brief angry exchange she hangs up on him. Looking around the apartment he sees a picture of his wife naked that she had ripped up before leaving. Patricia arrives at the apartment which she has just rented from Carlo's wife. Patricia has just left her husband and is expecting their furniture to arrive shortly—she too has emptied her husband's home. Carlo reveals that his wife left him for her lover because he was away too often on business. Patricia then gets a phone call from her husband, and she tells him, "Don't try to find me." Carlo and Patricia approach each other and he says, "There's a cure for everything." Patricia responds, "That's what disturbs me." He kisses her hand gently.
527:, she speaks of words that need to be spoken, but he says the only words worth speaking are hidden inside. Silvano walks Carmen to her home, where she reveals that she lived with a man for a year, and only recently he left her. "Words do us good," she tells Silvano, "even in writing. A woman expects them. She always does." Although seemingly attracted to Silvano, Carmen rebuffs his attempted kiss, and he leaves. Later he returns to her room, they undress, and he passes his hand over her skin as if unable to touch her. They move to passionately kiss, but they do not. Finally, he leaves without making love to her. Out in the street, he looks back at her watching from a window.
486:. The film consists of four stories of romantic love and illusion told from the perspective of a wandering film director. In the first story, two beautiful young lovers are unable to consummate their passion because the young man desires impossible perfection. In the second story, the director makes love to a young woman who reveals that she murdered her father. In the third story, a man makes an effort to appease both his wife and his mistress. In the fourth story, a young man is infatuated with a girl who is about to enter a convent. This was the final feature-length film by Antonioni before his death in 2007.
571:), confronts her husband with an ultimatum: he must choose between them. When he goes to break up with his mistress, they end up making love. He returns home to find his wife drunk. "Everything seems ridiculous," she tells him. He assures her that he will leave his mistress, and they make love for the first time in three years. The husband returns to his mistress who becomes jealous when she learns that he slept with his wife. They fight, but again they end up making love.
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520:) and asks her where he can find a room for the night. She directs him to a hotel where she is staying. After checking in, Silvano sees her in the hotel restaurant and joins her. Silvano learns that Carmen is a teacher. They are attracted to each other, but they retire to their separate rooms. She undresses and waits for him, but he never comes. The next morning, he finds that she has checked out of the hotel.
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which she spent three months in jail before being acquitted. She takes him to the "scene of the crime" at the waterfront. Conflicted by her feelings for the director, she says, "You remind me of somebody." They walk to her apartment and make love. Later, the director sits at a pool above the town contemplating the woman's story and its impact on the film he is writing.
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Niccolo accompanies the young woman home, stopping in an entrance to escape the rain. Asked what would happen if he fell in love with her, she responds, "You'd be lighting a candle in a room full of light." When they reach her apartment, he asks to see her the next day. She replies simply, "Tomorrow I enter a convent." Niccolo walks out into the night and the rain.
608:) in the doorway and decides to follow her. He asks if he can accompany her, and she tells him she's going to church. Niccolo is surprised that this quiet woman has little to say and seems uninterested in the world around her. She tells him that to be happy we need to eliminated pointless thoughts — that she prefers the quiet.
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Due to ill health on the part of
Antonioni, the film's producers insisted on another director, Wim Wenders, coming onboard to work as an assistant to Antonioni in case Antonioni couldn't continue. Wenders ended up directing transitional passages to fill out the film, additions that Antonioni opposed,
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Niccolo wakes up in the now empty church following the service. He runs out into the dark streets looking for the young woman, finding her at a well. They talk about the impermanence of things. He admits that he is scared of death, and she tells him she is scared of life — the life people lead.
498:) is flying to Italy following the conclusion of his latest film. On the airplane, as he looks out beyond the clouds, he begins to think about his next film and the art of filmmaking. Upon landing, he drives through the night through thick fog, with people appearing and disappearing like apparitions.
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In the French countryside, a man pulls a woman from the railroad tracks as a train passes. On the train the director considers the "limits of our brains, of our experience, of our culture, of our inspiration, of our imagination, of our sensitivity." A woman enters his compartment, gets a phone call,
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Some time later, the woman meets her friend at the Caffè Excelsior, but notices the director sitting nearby. She approaches him and confesses, "I killed my father. I stabbed him twelve times," and then walks away. The director follows and they talk about the killing that took place a year prior, for
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As they walk along the cobblestone streets, the young woman tells
Niccolo that she longs to escape her body, that it needs too much and is never satisfied. Niccolo seems more interested in her body. When she does not respond to his romantic approaches, he observes that she looks like someone who is
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won't be disappointing. A less partial audience, I'd guess, will find it slow, labored and self-conscious." Guthman sees as the dominant theme of the film "the ways in which desire distorts perception and leaves us betrayed when our wishes and reality prove incompatible. ... It's that compelling
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to cut that part. "The scene starts off well, but becomes unbearable when it doesn't end and at the end it heavily touches the limit of pornography," Wenders said. Antonioni, for his part, cut more than half of
Wenders' contributions including almost all of the scenes with Marcello Mastroianni.
616:, the young woman enters the church, and he follows her inside. During the service, the young woman appears deeply spiritual as the choir sings. Detached and bored, Niccolo walks around like a tourist gazing up at the architecture before sitting down away from the congregation.
567:) sitting by himself. She wants to talk with someone about a magazine article she just read. The man is enchanted by the young woman's story. Three years later, the man returns home after seeing the young woman, who is by now his mistress. His wife, Patricia (
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received mixed to positive reviews with the general consensus being that fans of
Antonioni's work would welcome and appreciate this as one of the director's last films; others would be less embracing of his distinctive cinematic style.
545:) and follows her to a seaside clothing shop where the woman works. In the shop, she gives him a look of recognition. They do not speak, but seem drawn to each other. As the director leaves, she gestures to him but he does not respond.
747:. Antonioni, who was 83 at the time of the film's production, had a stroke that left him severely incapacitated. The film was completed with help from Wim Wenders, who wrote its prologue and epilogue and worked on the screenplay.
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who according to
Wenders said "leave my film alone! My stories don't need any framing, they can stand by themselves." Ultimately, the Wenders sequences were left in, though the film's authorship is still credited to Antonioni.
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The film earned $ 3,252,000 in gross revenue in Italy, and $ 31,738 in the United States. As of
February 1996, the film had 230,924 admissions in France, and as of August 1996, the film had 24,951 admissions in Portugal.
857:, Edward Guthmann gave the film a qualified positive review, writing, "For Antonioni lovers, who don't mind the moody silences and labyrinths of an Antonioni film and will recognize the echoes of earlier films,
600:, the director is contemplating the paintings in his hotel lobby when he notices a man entering the building across the street to deliver architectural drawings. When he reemerges, the man, Niccolo (
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The screenplay was adapted from four sketches titled "Story of a Love Affair that Never
Existed", "The Girl, The Crime ...", "Don't Try to Find Me", and "This Body of Filth", from Antonioni's book,
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that you are all but transported through the screen to a place where the physical and emotional weather fuse into a palpable sadness. ... More than just a great director's autumnal musings,
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The director visits a deserted beach on a dreary day. The wind sweeps the sand across the beach. He finds an old photograph of a seaside town cradled on a hillside. In
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is a long goodbye to an idea of cinema as a high art, one that can flourish only as long as there are directors of Mr. Antonioni's vision to dream it into being."
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1996 Italian
National Syndicate of Film Journalists Silver Ribbon Nomination for Best Director (Michelangelo Antonioni)
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sense of mystery, of the endless search and its undercurrent of loneliness, that sets this great filmmaker apart."
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1995 Valladolid International Film Festival Golden Spike Nomination (Michelangelo Antonioni, Wim Wenders)
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Michelangelo Red Antonioni Blue: Eight Reflections on Cinema
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That Bowling Alley on the Tiber: Tales of a Director
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the film received a 68% rating based on 22 reviews.
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1210:. Retrieved
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1185:. Retrieved
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1109:. Retrieved
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766:Peter Weller
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690:Peter Weller
678:Fanny Ardant
671:
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569:Fanny Ardant
565:Peter Weller
558:
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493:
476:Peter Weller
468:Fanny Ardant
442:directed by
440:romance film
434:
424:
414:
413:
412:
395:$ 3,252,000
340:Running time
309: (Italy)
245:Van Morrison
240:Adam Clayton
197:Robby MĂĽller
163:Peter Weller
118:Fanny Ardant
1934:Short films
1843:L'Avventura
1730:(1974–1976)
1662:Short films
1552:Submergence
1361:Wim Wenders
1237:January 17,
1032:January 17,
1001:January 17,
774:Wim Wenders
711:as The Girl
709:Irène Jacob
686:as Mistress
680:as Patricia
664:as The Girl
649:Inés Sastre
606:Irène Jacob
518:Inés Sastre
464:Irène Jacob
448:Wim Wenders
344:112 minutes
158:Inés Sastre
128:Irène Jacob
90:Produced by
81:Wim Wenders
50:Directed by
2008:1995 films
2002:Categories
1867:Red Desert
1726:Road Movie
1162:August 18,
1085:9 February
938:References
884:Box office
776:who asked
739:Screenplay
734:Production
717:as Niccolo
692:as Husband
645:as Silvano
389:Box office
327:1996-01-24
316:1995-11-09
305:1995-10-27
66:Written by
1859:L'Eclisse
1827:Le Amiche
965:UniFrance
943:Citations
822:Reception
809:Portofino
729:as Friend
696:Jean Reno
656:Portofino
651:as Carmen
576:Jean Reno
539:Portofino
484:Jean Reno
401:$ 31,738
369:Languages
349:Countries
285:(Germany)
206:Edited by
148:Jean Reno
1851:La Notte
1835:Il Grido
1587:Tokyo-Ga
1579:Room 666
1303:AllMovie
971:8 August
924:See also
817:, France
698:as Carlo
278:(France)
265:Kidmark
228:Music by
111:Starring
1811:I Vinti
1728:trilogy
1718:Related
1440:Hammett
799:, Italy
797:Ferrara
760:Editing
751:Filming
637:Ferrara
510:Ferrara
420:Italian
397:(Italy)
381:English
375:Italian
358:Germany
325: (
314: (
303: (
267:(Italy)
1988:(2004)
1979:(1965)
1970:(1953)
1961:(1949)
1953:(1948)
1945:(1947)
1926:(1995)
1918:(1982)
1910:(1980)
1902:(1975)
1894:(1972)
1886:(1970)
1878:(1966)
1875:Blowup
1870:(1964)
1862:(1962)
1854:(1961)
1846:(1960)
1838:(1957)
1830:(1955)
1822:(1953)
1814:(1952)
1806:(1950)
1746:(1998)
1738:(1995)
1710:(2017)
1702:(2001)
1683:(2008)
1674:(2002)
1654:(2023)
1651:Anselm
1646:(2018)
1638:(2014)
1630:(2011)
1622:(2003)
1614:(1999)
1606:(1995)
1598:(1989)
1590:(1985)
1582:(1982)
1563:(2023)
1555:(2017)
1547:(2016)
1539:(2015)
1531:(2008)
1523:(2005)
1515:(2004)
1507:(2000)
1499:(1997)
1491:(1994)
1483:(1993)
1475:(1991)
1467:(1987)
1459:(1984)
1451:(1982)
1443:(1982)
1435:(1980)
1427:(1977)
1419:(1976)
1411:(1975)
1403:(1974)
1395:(1973)
1387:(1972)
1379:(1970)
1267:
1057:
482:, and
430:French
378:French
361:France
815:Paris
672:Paris
403:(USA)
355:Italy
1985:Eros
1950:N.U.
1627:Pina
1292:IMDb
1265:ISBN
1239:2012
1214:2012
1189:2012
1164:2021
1139:2012
1113:2012
1087:2022
1055:ISBN
1034:2012
1003:2012
973:2021
768:and
624:Cast
490:Plot
235:Bono
1323:at
1312:at
1301:at
1290:at
918:Won
909:Won
900:Won
876:On
596:In
508:In
466:,
2004::
1230:.
1205:.
1180:.
1155:.
1130:.
1104:.
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1025:.
1011:^
994:.
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470:,
462:,
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1166:.
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1115:.
1089:.
1063:.
1036:.
1005:.
975:.
418:(
329:)
318:)
307:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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