Considering that the whole point of the film is how apathetic and boring the two main characters are, Antoninoi does a fantastic job keeping the movie interesting.

204

very beautiful sight and music

The alienating aspects of the modern world is a gong that Antonioni bangs in many of his films. While one could say that nothing happens in the story, Antonioni's style shows how much happens when nothing happens. That is, the internal lives of the characters are expressed through mise-en-scene. This is most apparent in the way characters are framed in the corner or to the side of the shot, often against an imposing blank edifice or divided by barriers.

A phenomenal film that takes one hell of a deep look at relationships.

224

Quite probably Antonioni's best, which is amazing considering how late on in the film Monica Vitti first shows up. La Notte is great for all of the same reasons that make L'Avventura, L'Eclisse and Il Deserto Rosso great, but whereas they retain a certain mellow impressionism throughout, La Notte's script quickly grows more substantial.

Visually splendid, though one film was more than enough to uncover his films' greatest attribute. What's amazing is how much he's able to communicate with so little. As a relationship is standing on its last legs, we still come to care about the main characters (Giovanni and Lydia), despite their selfishness and alienating behavior, respectively. Definitely better than its predecessor.

Each moment is meaningful

didnt touch me,not one eighth l'eclipse did maybe because i just cant stand the sight of Marcello Mastroianni!

Antonioni integrates mood and characters wonderfully here, letting the film's ebb and flow be directed by what the characters are feeling, alternately creating contrasts and synergies with what they are actually doing. It may be slow going but, because the acting is so good, it's easy to get engaged in the minutia of actions and reactions, letting the emotions carry you through the film.

# 177

Nice Movie

Although I can see why this isn't as well known or highly regarded as L'Avventura, I like it a lot more. It's similarly slow, ponderous and immaculately shot (I mean, this is Antonioni so that's no surprise), but I felt a stronger connection with the characters and situations. The way Antonioni films the dynamics between people - including desires and obstructions - is great and I was particularly impressed with the way the human gaze was used to illustrate feelings of longing and isolation.

It's hard to enjoy something that makes you feel dead inside, even when you respect how Antonioni achieves it. Each part of his "alienation trilogy" is interesting in its own way. They all compel me to return to them, despite finding them sometimes hard to sit through. This one allows the deepest connections with its characters, with less of a distancing effect than the others. The way Antonioni works mood and meaning into the film is remarkable... but again, a little dull at points, too.

This movie frightens me.

Much of the film feels quietly melancholic, until finally the film reaches an ending that is poignant, startling and completely and utterly heartbreaking. Antonioni is also able to render his characters alienated visually, he has this remarkable ability to make a character seem completely seperate from all the people and goings on around them. The film is visually sumptuous, elegant and I loved its slow ambling mood avoiding the truth for as long as possible in its own cool, laidback manner.

moments of antonioni greatness but ultimately kind of boring

Difficult to fully absorb, but at times intensively stimulating.