Review of L'Eclisse

L'Eclisse (1962)
The space as the protagonist
18 November 2020
Warning: Spoilers
He eclipse tells the story of Vittoria (Monica Vitti), who after leaving her husband meets Piero (Alain Delon), handsome and full of vitality; but too materialistic. It is the third in a trilogy of films that Antonioni made, in which she deals with the fragility of contemporary relationships. The plot is simple and minimal, but what really stands out is the director's ability to create and maintain that atmosphere of alienation.

On the one hand, the Vittoria neighborhood is modern and full of houses; however, the streets and buildings are always empty and soulless. On the other hand, in the building of the stock market in which Piero works, her exuberance is portrayed; screaming, raised hands, and calls that interrupt conversations. The film aims to provide more information about the character where they are located; that is to say, the space with a semi - leading role, which takes on a special role at the end of the film.

Therefore, another of the highlights of El eclipse is its photography. Giannini Di Venanzo manages, through the shots, to show us the character of the character beyond the plot. It portrays the mystery of the relationship, in a subtle, poetic and imaginative way. Art.

Good films make you reflect, be it on the plot, on the cinema, on time, on the image ... The eclipse aims to make us think about space and the hypnotic function that Antonioni gives it. It makes us wait, nervous and impatient, for something to happen.

Creating suspense is a virtue of the author, but the answer is the responsibility of the viewer.
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