One Comment

  1. “It’s almost as if Antonioni has extracted the essence of the everyday street life that serves as background throughout the picture, and once we’re presented with this essence in its undiluted form, it suddenly threatens and oppresses us.”

    And these are elements of noir that have shaped it even before Antonioni broke on the scene with his existential slant. But noir and existentialism have a natural kinship, just as Antonioni’s cinema overlaps in several instances, including this one. I am also a very big fan of L’ECLIPSE.

Leave a Reply

Your email address will not be published. Required fields are marked *