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La Notte

Winner of the Golden Bear at the Berlin Film Festival, the second film in Antonioni’s existential trilogy, produced between L’Avventura (1960) and L’Eclisse (1962), has undergone a glorious restoration that invites renewed acquaintance. Marcello Mastroianni, Monica Vitti, and Jeanne Moreau star in an enigmatic marital drama about modern alienation and ennui. Mastroianni plays an up and coming but immature novelist who is tempted by another woman (Vitti); Moreau is a disenchanted wife who begins to question her marriage as well as her empty, affluent friends in Milan. A day in the life culminates in a late night walk through the city—from grim to swanky precincts— and a truth that can no longer be denied. “[Antonioni] made his beautiful, skeptical, ironic muse Monica Vitti the arthouse pin-up of the 1960s and created a new Italian cinema—cool, oblique, Marxist—to succeed Neo-Realism. Antonioni never made anything better…Cinema was never the same again.”–Philip French, The Guardian. “The world of La Notte isn’t an absurd or meaningless one; it’s one that hides its profoundest meaning in plain sight, that owes its almost incalculable profundity to the immediacy of its visual patterns and abstractions, and that Antonioni both damns and redeems in the same gesture, the same moment, by means of his own art.” – Richard Brody, The New Yorker.

Appears in: Special Screenings

Genres: Drama

Other Films by Michelangelo Antonioni

The Passenger

The original Italian title of Antonioni’s existential masterpiece, which directly translates to Profession: Reporter, belies none of the dread or exquisite beauty present in The Passenger. Following war correspondent David Locke (Jack Nicholson) as he searches for his next story in the Sahara Desert, the film hops continents after Locke meets a look-alike arms dealer


Antonioni’s landmark film set a new course for the cinema with its stylistic flourishes, jazzy score by Herbie Hancock, and existential probing of the relationship between image, representation, and reality in modern culture. A London fashion photographer (David Hemmings) photographs a woman (Vanessa Redgrave) in a park and later comes to believe that he has

Le Amiche

In Le Amiche (Italian for girlfriends), a young woman returns to her hometown of Turin after World War II to set up a fashion salon. The film’s costumes were designed by Zoe, Micol, and Giovanna Fontana, sisters who opened their Rome atelier in 1943 and whose signature costuming in mid-century films gave Rome the nickname


Antonioni’s meditation on meaning in modern existence remains an obligatory experience in existential cinema-going. On a yachting trip off Sicily, a woman (Lea Massari) mysteriously disappears during an excursion on a desolate island. Her lover (Gabriele Ferzetti) and her friend (Monica Vitti) begin a search, but during the fruitless quest, each slowly becomes enamored with