Some kissing. A man puts his hand inside a woman’s robe and touches her breasts.
A married woman kiss with a teenager boy.
Sex not shown on-screen, but suggested. No “live” nudity, but there is nudity in several works of art; in one scene, a painting shows a woman’s bare breasts.
Multiple scenes in which women undress, although only their backs and/or shoulders are seen.
There is one scene near the end of the film in which a woman’s bare breast is briefly exposed and then covered.


Film review:Translated by www.rabudo-ru.com


Too many critics say that the theme of Antonioni’s films is alienation, loneliness and boredom. If these comments are not said to be wrong, they are superficial. In my opinion, Antonioni’s films are first about “seeing”, how we see the world, how we feel the world, how we “see” this or that thing – and those things will look at us, see through us, or ignore us in turn. Let’s recall these scenes in Antonioni’s films: the mysterious volcanic islands in adventure; The stock exchange in the eclipse and the last famous empty street view; The tall buildings in “night” and the deserted edge of the city.

Antonioni is particularly good at the end of the film. At the end of the eclipse, montage feels the emptiness of the whole city, the texture of urban buildings is infinitely enlarged, but the two lovers can’t arrive as scheduled; In zoom in, Hemmings finally picked up the fake tennis ball and threw it into the air; In the passenger, the super long magical long lens slowly moves out of Jack Nicholson’s room, comes to the abandoned square through the window, and then slowly returns to the room and finds that Nicholson has died in bed.

I saw all these films at least a year ago. But all these images have left an indelible impression in my mind, haunting like a nightmare, and I believe everyone who has seen these films will have this feeling. This proves to what extent Antonioni is a visual Director – which means not only building a story with vision, but also his infatuation with the visible, and even the fatal infatuation with the invisible. Antonioni is infatuated with “the surface of things”. Antonioni shows us the world – sometimes it’s a “natural” world, but more often it’s an artificial world – but he shows the world in a way we’ve never seen before: he shows us a world as a visual image, a world that shrinks back to a visual image, A world that has become a visual image. That’s why we feel dizzy watching Antonioni’s films. Because all the things we see are not presented objectively. Those things are always reflected and affected. They are always the projection of the character’s claustrophobic mind. They are the counterparts of narcissism, neuroticism, loneliness and nausea; However, at the same time, everything we see is completely separated from the subjective feelings of the characters, as if the camera came quietly from outer space, and for it, the behavior of the characters is as absurd as our behavior of watching flies. Antonioni’s films are a combination of the two. One is excessive subjectivity, which seems to pull us into the territory of death. The other is the too inhuman distance, which creates a barrier between understanding and interpretation, and the combination of the two creates Antonioni’s enigmatic poetry.

Antonioni’s films are also about time. How time passes, and how it feels to wait and continue. As Bergson said, in order for the sugar to melt, you have to wait. It won’t melt in an instant. Antonioni’s film is a parable of waiting: waiting can be as fast as sugar melting or as slow as death. Antonioni captures this kind of waiting, and like Proust, he regards the passage of time as the essence of human internality: he captures the pain and happiness of waiting, and no director can be better than him.

Antonioni was also a poet of the body. As Deleuze said, Antonioni’s films are about “infinite fatigue of the body” and “attitude and posture of the body”. For Antonioni, what remains on these body attitudes and postures is no longer experience, but the residue of past experience, that is, the residue left after all what he wants to say and all what he wants to do have been done. What he shows us is what remains when everything has gone, and what is there when everything has not started: and all these remnants are engraved on the body. These are unconscious bodies, and the mind does not go there. Antonioni is a poet of the body, which means that he tells us with vision what can’t be said, what the body can feel but can’t express.

Antonioni is a modernist poet. Of course, it is a clich é for modernism to combine those surprisingly beautiful things with the deep despair. But Antonioni’s special feature is that he makes his characters irresistibly absorbed by those landscapes, changes them and reflects them: those beautiful to terrible landscapes not only express them, but also absorb them and chew them. Antonioni always deals with the relationship between man and the environment in which he lives.

Then, what about the political orientation of Antonioni’s films? The original trilogy tells the story of the rich bourgeoisie. All the characters will not feel uneasy about the economy. Their confusion lies in their personal loneliness and the shackles of being unable to communicate with others – of course, their inability to obtain happiness, or even their lack of desire. More often, these characters are women. Antonioni looks at them with sad eyes, although at the same time, he inevitably objectifies them into sexual goals.

The leftist criticism of Antonioni always says that he beautifies the decadent life of the bourgeoisie. But again, this criticism is superficial. Antonioni criticizes class relations and gender relations, but he never moralizes this criticism. For example, like Neo realism, he depicts the proletarian life as a substitute for the bourgeoisie. Antonioni’s films always have a feeling of numbness. Its characters are numb and inevitably numb the viewer. This numbness is the inevitable feeling after the extreme development of class differentiation and gender discrimination in capitalist society. The character’s neuroticism, narcissism and emotional poverty are the “subjective” results caused by the “objective” capital appreciation.

In the red desert, Antonioni left us the most unforgettable color lens in film history. These evil colors spread like ghosts. They are a footnote to an allegory: Monica Vitti told her son that there was once a paradise beach: where the color and light were so clear and bright, and everywhere billboards were full of corners. This is the ideal that the bourgeoisie cannot achieve: Antonioni tells us that this is only the opposite of the haunting industrial ruins society in the film. Antonioni’s poetics is the Poetics of waste and rubbish.

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