"Antonioni never made anything better...
Cinema was never the same again."
— Philip French, The Guardian
December 13 Montreal, QC CINEMATHEQUE QUEBECOISE
December 28 & January 5 New York, NY MOMA
January 26 Berkeley, CA BAMPFA
"Antonioni never made anything better...
Cinema was never the same again."
— Philip French, The Guardian
Italy/France, 1962
Director: Michelangelo Antonioni
Producer: Emanuele Cassuto
Cast: Jeanne Moreau, Marcello Mastroianni, Monica Vitti
Screenwriter: Michelangelo Antonioni, Ennio Flaiano, Tonino Guerra
Cinematography: Gianni Di Venanzo
Music: Giorgio Gaslini
Genre: Drama
Black & White
Aspect Ratio: 1.85:1
Language: Italian with English subtitles
Running Time: 122 minutes
Synopsis:
A talented but callow novelist (Marcello Mastroianni) enjoys the acclaim afforded his just-published novel, while his marriage to a well-to-do Milanese woman (Jeanne Moreau) deteriorates. As she grieves for a dying friend she once loved, he is both bemused by and attracted to the advances of other women, particularly the ravishing daughter (Monica Vitti) of a potential new benefactor. An empty evening of visiting decrepit neighborhoods, exotic nightclubs, and a swanky villa party leads to a final confrontation, which reveals the somber truth that love does not always conquer all. The second film in a famous trilogy by the legendary director Michelangelo Antonioni (L'Avventura, L'Eclisse), La Notte captures the intoxicating glamour and amorality of Italy's post-war nuovi ricchi, now even more sumptuous in a new restoration from a 4K scan of a 35mm fine-grain.
Awards and Nominations:
Golden Bear (Berlin Film Festival, 1961)
Best Director (Italian National Syndicate of Film Journalists, 1962)
Best Score (Italian National Syndicate of Film Journalists, 1962)
Best Supporting Actress - Monica Vitti (Italian National Syndicate of Film Journalists, 1962)
"THE MOST MOVING PART
OF ANTONIONI'S TRILOGY!"
— David Thomson
"EMOTIONALLY ACUTE AND DEVASTATING.
Antonioni's concern is nothing less than the human condition itself."
— Slant Magazine