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.