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L'Eclisse
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L'Eclisse

1962
Drama
2h 6m
A young woman meets a vital young man, but the love affair is doomed because of the man's materialistic nature. (imdb)
Directed by:
Michelangelo Antonioni Michelangelo Antonioni
Written by:
Tonino Guerra Tonino Guerra Michelangelo Antonioni Michelangelo Antonioni Elio Bartolini
+2 more
Starring:
Alain Delon Alain Delon Monica Vitti Monica Vitti Louis Seigner Lilla Brignone Rossana Rory Rossana Rory Cyrus Elias Francisco Rabal Francisco Rabal
More
Genre:
Drama
AKAs:
Eclipse, L'Eclipse, L'Eclisse
Countries:
France, Italy
Languages:
English, Italian
imdb More information at IMDb
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L'Eclisse

1962
Drama
2h 6m
Your probable score
Ratings & Reviews Cast Collections Similar Stats Trailer
Avg Percentile 74.47% from 1125 total ratings
Ratings & Reviews Cast Collections Similar Stats Trailer

Ratings & Reviews

(1125)
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alex_watkinsAlex Watkins
Rated 01 Mar 2007
5
91st
An elliptical portrait of urban alienation and loneliness, Antonioni-style. The ending still feels utterly fresh, unique and haunting.
Rated 01 Mar 2007
peaceanarchyPeaceAnarchy
Rated 26 Jul 2008
54
8th
Very similar to L'avventura, only the point seems even more lost in the meandering unlikeable characters and scenes that go on way too long. It's well shot and at times shows a spark of being interesting, but nothing ever develops and I found it quite unfulfilling.
Rated 26 Jul 2008
moribunnyMoribunny
Rated 20 Sep 2007
90
97th
Another long, winding, meandering, unfocused film by Antonioni, again strangely entrancing and fulfilling. There's something really magical about what he does in his films of that period... the singular logic by which every event naturally leads to another seemingly spontaneous and beautifully photographed event. The writing is splendid in every way.
Rated 20 Sep 2007
roblarrickroblarrick
Rated 04 May 2016
25
4th
This is my third Antonioni film and the third time in which I walk away with nothing but regret at having wasted two hours on a story and characters that I neither care about or understand. Nearing the end of the film, I didn't think it was any worse than L'Avventura but the last few minutes of this film really annoyed me.
Rated 04 May 2016
vertiggoVertiggo
Rated 08 Feb 2009
97
96th
I really liked... just because it is simple, just because it has a complex simplicity... cause you can't explain why and how, and at the same time , yes you can get it all... or not...
Rated 08 Feb 2009
cinematicespCinematicESP
Rated 03 Mar 2010
68
15th
The ending is the most intriguing part, and even then I'm not sure it really means anything. The cinematography is top notch, and it has some nice, subtle comedic moments at times. The rest unfortunately left me as bored as the boring characters.
Rated 03 Mar 2010
yiannosYiannos
Rated 26 Nov 2014
88
99th
Antonioni's 'cold' formalist approach reached its zenith with this definitive study on the alienating nature of modern life. And by study I do mean study: the precise manner in which Antonioni frames his subjects against their immediate surroundings, and creates 'links' between scenes, expresses a disconcerting viewpoint about modernity that is simultaneously ambiguous and crystal clear. The vision is pessimistic at its core, but one marked by a rare and haunting beauty.
Rated 26 Nov 2014
teddedonTedDedon
Rated 31 Jul 2007
94
92nd
L'Eclisse is one of the most poignant and interesting movies to watch with its serene black and white cinematography and the gorgeous couple that leads the story through.
Rated 31 Jul 2007
redactedredacted
Rated 30 Mar 2017
66
39th
Cinematography and visual story telling was the highlight here. There's a lot of unspoken content hinting at the heavy emotional disconnect between the two 'lovers' & the world they interact with. Interesting concept, with some lively scenes harboring conceptually dry/empty undertones scattered throughout (the trading house generally & the blacking up sequence), but this also leads to some tedious pacing which creates a more fond experience when being reminisced upon vs actually experiencing.
Rated 30 Mar 2017
rthornhillrthornhill
Rated 22 Aug 2011
68
7th
piero: why do you always say i don't know? to which i say: why did so many of my friends like this? i don't know.... why did they find the last seven minutes to be so fascinating? i don't know that either! my eagerness to watch this one from michelangelo antonioni was soon eclipsed.......by ennui......how long will this go on? i don't know......
Rated 22 Aug 2011
nathan_sNathan S
Rated 15 Jul 2016
3
45th
A swarm of people, and the only passionate exchanges are not of idea or feeling, but stock. Again, meaningful use of shape and space. There are no considerable flaws to speak of, but for some reason or another I find this film less stimulating than Antonioni's other work from the period.
Rated 15 Jul 2016
dtortumdtortum
Rated 19 Oct 2011
90
69th
Antonio'ye tum film boyunca kil kaptim. Elitist estetik anlayisina, surekli askin an yaratmaya calismasina ama bunu dramatik olarak haketmeden yapmaya cabalamasina kufurler ettim. Karakterleri cok sig buldum, insanlardan hic anlamadigini dusundum. Kismen L'avventura'da da boyleydi durum. Ama aynen L'avventura'da oldugu gibi, L'eclisse'i de oyle bir bitirdi ki, oyle inanilmaz bir son sundu ki, filme vurulmadan edemedim. Bu filmin sonu sanki proto-apichatpong.
Rated 19 Oct 2011
puyaPuya
Rated 14 Oct 2009
98
98th
An unforgettable look into how absurd and meaningless relationships are
Rated 14 Oct 2009
martintellerMartinTeller
Rated 21 Dec 2006
79
64th
With Antonioni, my initial reaction is always somewhat cold, but then I always feel a desire to return to his work. I honestly can't say how I feel about this film, except that I'm sure that watching it again would be rewarding. It's mysterious (but not obscure), and quite beautiful in its photography.
Rated 21 Dec 2006
kasperlKasperL
Rated 30 Oct 2019
60
50th
I suppose that I might have cared for it more if I hadn't found Vitti quite annoying. The ending is somewhat audacious, but clearly Antonioni must've time-travelled to 1995 and nicked the idea from Richard Linklater.
Rated 30 Oct 2019
jakeaestheteJakeAesthete
Rated 13 Jun 2008
82
82nd
The saddest love story ever told?
Rated 13 Jun 2008
eveeluneveelun
Rated 18 May 2009
80
78th
I found this more engaging than L'Avventura, but not as much as La Notte. Antonioni always delivers these gorgeous and fascinating ruminations on social and romantic disconnection. I never find them totally boring, but they do strike me, at times, as being rather dry and bloodless, for lack of a better term. This had moments of incredible beauty, but ultimately there's this distance preventing me from truly loving it like I do La Notte or Blow-up.
Rated 18 May 2009
bduboisbdubois
Rated 14 Aug 2007
89
87th
The shots of the landscape of the town/city were very effective.. good contrast to the stock market scenes.
Rated 14 Aug 2007
joojooJooJoo
Rated 16 Mar 2009
5
80th
Slowest pace I've found in an Antonioni. The last hour (final 10 minutes, especially) is still fantastic.
Rated 16 Mar 2009
rezasalimirezasalimi
Rated 28 Jun 2016
100
99th
.............. I See You ! ..............
Rated 28 Jun 2016
glumpy99glumpy_99
Rated 24 Jun 2022
97
94th
Bleakly melancholic reaction against the harshness of modern society relies on Antonioni’s god-like view of his characters to underline how unpleasant and vacuous the cages are in which they are trapped. Perhaps dismissible as “rich white problems”, but successful in its depiction of people ostensibly happy, nevertheless caught in an ugly, nihilistic scenario whose only exit may be the promise of annihilation! Terrific work from Delon and (especially) Vitti elevate this to something remarkable.
Rated 24 Jun 2022
chengmingchengming
Rated 29 Jan 2020
60
35th
This one makes its points so obviously. At least the camera positions don't resort to standards, but at times to the point of appearing contrived. The little escape by plane was the one part of the film that felt alive.
Rated 29 Jan 2020
fredericg54frederic_g54
Rated 27 Mar 2010
7
57th
Delon is particularly good, and although this is a welcome entry to the alienation trilogy, it's nothing to write home about. Wind serves as a eye-opener, allowing its protagonists to realise what they don't want (rather than the opposite), which is love; Greater troubling events are at hand. "L'Eclisse" is injected with a nihilistic undercurrent which has left me pretty cold and any other interpretations one can ascribe to the ending are easily dismissable. Good, yet gloomy and unfulfilling.
Rated 27 Mar 2010
neonmanNeonman
Rated 14 Sep 2010
80
63rd
Like any Antonioni film, it probably deserves a rewatch or two. I'm not sure how each scene related to the previous or next, but I liked each one as it came along anyway. The ending is a masterpiece, apparently.
Rated 14 Sep 2010
wetwillieswetwillies
Rated 06 Sep 2013
100
98th
One of the best films I've ever seen. Thematically rich and thought-provoking, L'Eclisse is a veritable mix of existentialism and beautiful images, an incredible study of alienation in the modern world. The ending is one of the best. Alain Delon and Monica Vitti are fantastic. Just see this fucking movie.
Rated 06 Sep 2013
theyshoot07theyshoot07
Rated 01 Mar 2008
90
84th
# 197
Rated 01 Mar 2008
muutanetmuutanet
Rated 25 Feb 2011
32
24th
I love Michelangelo Antonioni style and use of pictures and close ups. This story laid on the main two leads, but neither spoke to me. The symbolism of the story did not speak to me either and I'm definitely not going to review it anymore. Ever.
Rated 25 Feb 2011
obdurateObdurate
Rated 08 Feb 2009
70
41st
When artists challenge the viewers/consumers to feel things in daring and interesting ways that are out of the ordinary, it can be a wonderful thing if handled correctly. It wasn't here, but it's still a well made movie regardless, with some fantastic cinematography, especially, but it's more often than not boring. I don't mind some scenes that are intentionally boring, I actually appreciate that, but when it's most of the movie it becomes a problem. Still a 75 cuz of how well it was made.
Rated 08 Feb 2009
marcellomarcello
Rated 17 Mar 2019
76
40th
urban spaces?? kanser olduk be borsadan.
Rated 17 Mar 2019
tabidotstabidots
Rated 09 May 2009
85
47th
Stunning cinematography. I feel like this is one of those works that grows on you-- I'll have to watch it again.
Rated 09 May 2009
pyrosexualpyrosexual
Rated 16 Mar 2016
55
8th
Boring, yet boring.
Rated 16 Mar 2016
ahmed413ahmed413
Rated 12 Aug 2009
90
92nd
I'm in love with Vitti.
Rated 12 Aug 2009
elmakebabielmakebabi
Rated 21 May 2012
90
97th
Second Viewing: First score was 80.
Rated 21 May 2012
perrystroikaPerryStroika
Rated 23 Nov 2011
57
30th
Beautiful, miserable people being beautiful and miserable. Vitti's considerable charisma makes this at least watchable, and the cinematography is nice, but without a legible emotional context, the emotional tone just seems like art movie modishness. Antoni-ennui indeed.
Rated 23 Nov 2011
bellamyrbellamyr
Rated 06 Jun 2010
83
70th
If you're after a punchy and pacey film with plenty of action this isn't for you. It can be slow even laboured at times but it's well ahead of its time and has a message that materialism and owning 'stuff' isn't top priority. Some strong performances particularly from Delon. Worth hunting out.
Rated 06 Jun 2010
theyshoot08theyshoot08
Rated 19 Dec 2008
91
82nd
182
Rated 19 Dec 2008
djrossdjross
Rated 29 Mar 2015
80
91st
Seldom has a film been transformed by its ending as the remarkable culminating sequence manages to accomplish here. Seems to argue that the difficulties and disorders of contemporary personal relations are directly but mysteriously tied to the largest-scale "macro-political" level, not just in relation to capital and speculation, but in relation to what will later be referred to by a philosopher as the absolute pharmakon, that is, the possibility of ultimate self-destruction via nuclear fire.
Rated 29 Mar 2015
seanberndorffSeanBerndorff
Rated 23 Oct 2010
70
53rd
Great while watching. Instantly forgotten.
Rated 23 Oct 2010
larsvontrierLarsVonTrier
Rated 03 Feb 2021
5
99th
Those last 10 minutes is downright a a burning mind's statement.
Rated 03 Feb 2021
malcymMalcym
Rated 21 Nov 2016
9
97th
Other than an overlong stock market sequence, brilliant - and super-charged by two of the most electrifyingly sexy stars of the era.
Rated 21 Nov 2016
metismetis
Rated 06 Aug 2021
75
59th
8???????????/???????????????????????????????????????????????????????????????????????????????????????/??????????????????????
Rated 06 Aug 2021
twijfeltwijfel
Rated 26 Sep 2016
82
98th
Those last two minutes are mesmerizing.
Rated 26 Sep 2016
nathanbatesNathanBates
Rated 02 Jul 2020
60
35th
After taking all night and then 15 of our minutes to leave her fiance, a woman who can't seem to make up her mind (beautiful Vitti) is pursued by a type-A stockbroker (dashing Delon). It goes about as well as you'd expect, until he pushes her out a window. No, sadly, that didn't happen; in fact, not much happens at all in this Antonioni film, other than shooting some poor kid's balloon and then looking at odd architecture. Too deep for me, I guess.
Rated 02 Jul 2020
barthalenBarthalen
Rated 09 Jun 2011
60
38th
The bookends are interesting, but everything in-between felt like a mindnumbing crawl towards the faintest glimmer of a plot. I truly did not care about the main characters at all, so if it wasn't for some nicely framed shots I would have probably fallen asleep.
Rated 09 Jun 2011
ottott
Rated 08 Jan 2018
94
97th
101 in eclipse symbolism is of course Werckmeister Harmoniak, then comes this 102 serving two eclipses: one like earlier mentioned in the stockmarcket and the second one reversed underlining the lovers overall sadness. Very elegant.
Rated 08 Jan 2018
dardandardan
Rated 11 Nov 2017
85
89th
emptiness, but not that good Buddhist stuff.
Rated 11 Nov 2017
lisa_iilisa-
Rated 24 Sep 2013
7
92nd
long silences with strong focus on side things - irrelevant characters and small objects. there is a sense of delight when freed from the constraints of romantic expression; anxiety when forced into it. perhaps a little dissonance between the lengthy stock market scenes and the other parts, so it's either very good or great depending on whether i focus my thoughts on that or on the brilliant, brilliant ending.
Rated 24 Sep 2013
driscarpindriscarpin
Rated 08 Aug 2014
89
85th
A famosa sequência racista foi de lascar.
Rated 08 Aug 2014
svengaliSvengali
Rated 14 Sep 2012
84
93rd
I loved the first half then it loses my interest a bit when it dives into Delon and his life alone but gets up as it goes on. Antonioni's magical framing is present in almost every second, elegant and fascinating and there's a quality about this trilogy which I'm not I've ever seen anything like.
Rated 14 Sep 2012
parcalihamparcaliham
Rated 20 Sep 2015
100
99th
19 Eylul '15 & merve e. ile
Rated 20 Sep 2015
oskarhuoskarhu
Rated 21 May 2015
77
54th
Beautiful but boring.
Rated 21 May 2015
hadleyreisHadleyreis
Rated 02 Apr 2018
83
83rd
Materialistic for the 60s, perhaps.
Rated 02 Apr 2018
vandelay1Vandelay1
Rated 15 Jun 2009
73
83rd
Good Movie
Rated 15 Jun 2009
doyler29doyler29
Rated 22 Oct 2023
90
87th
This is probably Antonioni's most daring film where the characters and narrative feel completely overwhelmed by the film's style and setting. Things happen ... in particular two immensely well constructed stock exchange sequences populated mostly by real stock brokers ... but the heart of the film is the alienating environments of (then) modern Rome.
Rated 22 Oct 2023
theyshoot10theyshoot10
Rated 13 Jan 2010
90
80th
193
Rated 13 Jan 2010
karatoprakkaratoprak
Rated 22 Mar 2019
78
79th
nobody seems to be where they are supposed to be. nobody in the relationship shows how they feel because they think the other won't show how they feel. so this ending happens.
Rated 22 Mar 2019
purgatospurgatos
Rated 18 Jun 2008
94
95th
A particularly gorgeous piece of cinema.
Rated 18 Jun 2008
shockularSHOCKULAR
Rated 08 Nov 2022
74
51st
I am usually not a huge Antonioni fan. This one was one of his better ones for me, with some interesting characters and performances. The last five minutes or so are pretty haunting. Left me wanting more in the end, but I wasn't bored watching it, and some of the musical choices, especially in the final act, were really interesting and effective.
Rated 08 Nov 2022
feublofeublo
Rated 03 Jun 2019
85
74th
A deep and dispirited life is rooted outside the frame/fence of modern relationships, materialism and society. Like there's no answer or reason for the estrangement, but there's also no hope or structure to the life one chooses to believe. And regardless, everything disintegrates to the unbearable nature of post-modernism.
Rated 03 Jun 2019
icarusIcarus
Rated 30 May 2009
85
79th
The opening and closing sequences of this film are outstanding, but as has been true with other of Antonioni's films, I am left mostly cold by the harsh and alienated modern world he sees. However, the craft and expertise with which he carries out his vision is undeniable. The beauty of the images, the locations, and of Monica Vitti constantly invite the eye. The dark closing sequence, absent the film's central characters, stands as a classic indictment against the modern world.
Rated 30 May 2009
theyshoot11theyshoot11
Rated 30 Nov 2011
90
80th
#210
Rated 30 Nov 2011

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