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Produced by Cesare Zavattini, widely recognized as the godfather of Italian neorealism, this portmanteau work assembles six shorts by filmmakers who went on to embody the neorealist movement -- Michelangelo Antonioni, Federico Fellini, Dino Risi, Carlo Lizzani and Alberto Lattuada.
It's not necessarily a tighter narrative focus, as there is still plenty of room for moments of indistinct meaning and contemplative points to ponder, but as far as his features from the 1960s go, this is about as close as one gets to Antonioni protagonists and their private problems.
DiNatale, Bob and Jeanne Antonioni, Joyce Ryan, and Ron and Jeannine Maxfield.
Her path moves therefore beyond and in opposition to the official "Concept-city" (De Certeau 94) as represented by the Pirelli Skyscraper--an architectural incarnation of the modernism Lidia rejects--as well as by La Scala which Antonioni featured in Cronaca di un amore (1954) and the Cathedral we remember from De Sica's and Visconti's respective accounts of the very same miraculous Milan in Miracolo a Milano (1950) and Rocco e i suoi fratelli (1960).
Alain Delon, qui n'a jamais recu le grand prix d'interpretation a Cannes, a joue dans quelque 90 films sous la direction de realisateurs aussi prestigieux que Melville, Visconti, Antonioni, Losey, Godard, Malle.
He welcomes esteemed journalists like Fintan O'Toole and Carol Hunt and economists such as Peter Antonioni and Trinity College's Professor Brian Lucey.
David Hemmings claimed in his autobiography that Richard Harris was kicked off the film after he punched director Michelangelo Antonioni and that scenes still to be completed were done with another actor who was photographed from behind.
Antonioni choreographs Thomas's journeys through London in order to "chorograph" the space, building his paratactic sentences shot by shot.
This helps us do what we do faster with less distraction," explains Antonioni.
Giairo Daghini: It is almost a commonplace to talk about Antonioni as the filmmaker of the crisis of sentiments or, more generally, of a filmmaker of the crisis.
There is no doubt that Antonioni is one of the most "architectural" directors of Italian cinema.
Among the topics are more from less in the art of Michelangelo Antonioni, neorealist art versus operatic acting in Pier Paolo Pasolini's Mamma Roma, Ermanno Olmi's Il Posto and I Fidanzati, forbidden games in Gianni Amelio's Stolen Children and Lamerica, and Nanni Moretti's The Mass Is Ended and The Son's Room.