All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Zabriskie Point- How you get there depends on where you're at
An epic portrait of late Sixties America, as seen through the portrayal of two of its children: anthropology student Daria (who's helping a property developer build a village in the Los Angeles desert) and dropout Mark (who's wanted by the authorities for allegedly killing a policeman during a student riot)...
To get a stronger grasp on this films ideas and intent one must first comprehend this piece of trivia: Michelangelo Antonioni's original ending was a shot of an airplane sky-writing the phrase "Fuck You, America". Venomous though it may be—and it doesn't need that last shot to drive its message home—it's a markedly seductive and inviting rendition of American socio-political structures through the lense of youthful/foreign cynicism, however patent. If the man's language is guns, you talk to him with a gun, so says a miscellaneous hippie. Antonioni's language isn't the type to end with lingering gun smoke, though watching credits roll by isn't far from it. "The audiences won't like it" MGM insisted, well, "That's the same old jive…
With each viewing, its dramatic "weaknesses" recede and its pure cinematic beauty resonates more clearly.
→ Part of my Italian Summer Challenge
The counterculture undercurrents present throughout Antonioni’s career epitomize in Zabriskie Point, an alternately wistful and cynical outsider view of America that is more of an ironized dream-vision of the States. As a place where a hippie can just steal a plane and get away with it until he tries to repent, Antonioni views America as a hazily capitalist and off-centered country. The result of this impression is a confusing and multivious film whose thought-provoking trait and aesthetic supremacy make it one of the Italian master’s most inflaming, albeit frustrating, efforts.
The protagonist hippies are Mark, a witty dropout enraged by conventions and thus forever bored, and Daria, an anthropology student who comes to…
Visually, it's beautiful. There are moments that are absolutely stunning to look at. But it's easy to see why it did so poorly when it first came out. It almost seems like a parody of a sixties art film. A humorless, interminable parody. The acting is baffling. The dialogue is reductive and didactic. And as far as character development goes, it seems to be the story of a girl who gets a sense of anti-capitalism fucked into her by a guy who paints a plane like a hippy bus and then wonders out loud if people might mistake it for a mythical bird. It's not as oppressive as Red Desert, but it's not as dynamically engrossing as Blow-Up. I really…
Any comment, positive or negative, I had about this movie went out the window when the explosion happened. Those 5 minutes are a perfect moment of pure cinema.
Sure, yeah, the leads are terrible and the dialogue betrays the fact that seemingly everyone with a remote connection to the project got a say in it, but this may honestly be, barring some rewatches of Antonioni films I wasn't prepared for at the time, my second favorite of his films after RED DESERT. Alternately wistful and cynical outsider view of America, a place where a hippie can just take a plane and get away with it, until he tries to repent. The callously arranged female models of BLOWUP give way to outright mannequins animated by ad companies who see people only as clotheshorse to prop up their products. Its dream-vision of the States thus ironized, it's nevertheless the most…
I guess this was a movie.
The Star-Spangled Desert
Much ballyhoo is made over this feature, but to me it's very similar to every other Antonioni I've had the pleasure of viewing. It's not my favorite Antonioni though. With him you have to accept a certain amount of tedium for the reward of oft-stunning cinema. Here the tedious moments outweigh the stunning ones, whereas L'avventura (1960) for example is stunning practically throughout. I've heard many watch for the staggering desert shots, but the cinematography in Los Angeles is even more impressive.
I was less infatuated with the docu-drama beginning (BIG STATEMENTS ABOUT COUNTER-CULTURE AND THE HIPPIE MOVEMENT) than I was the poetic end of exploding fridges and condos, along with the desert orgies. Did I mention stuff blows up in this film?
Zabriskie Point, containing great music by Roy Orbison and Pink Floyd, mostly overcomes its weakness as a BIG IDEAS story to become something quite sublime. Frankly, I love it.
This is lesser Antonioni, but still better than most art films, because it actually speaks to a time and place. Antonioni has always been more about image and editing (both sound and film) than writing, but never before was it this evident for me. His imagery is poetic and wonderful, but the stilted characters let me see why this was such a panned film. Really, I think it has aged quite well, existing as a time capsule as well as a memorable artistic statement.
Zabriskie Point is a soulless art film with a heart as black as an 88-year-old smoker's lung but it is a gorgeous, gorgeous, gorgeous film to look at. I think this would make an interesting pairing with Miracle Mile. Where that film looked at the 80s and decided it was as good a time as any to take an eraser to society in the form of nuclear destruction and start from scratch, this movie has a similar approach to late 60s corporate America, albeit with complete absence of the rich character seen in Miracle Mile. Michelangelo Antonioni was such an enigmatic filmmaker and I can't fully grasp what the narrative was suppose to convey here but watching L.A. circa '68-'69…
Zabriskie Point or ideology-free zone...
In Post-Modernism, Post-Structuralism the tone is one of bleakness of our modern structures, with a cry for demolishing them and starting anew. We are surrounded by ideology, hounded by it, is something of an argument which Slavoj Žižek makes in The Pervert's Guide to Ideology. My desire to watch Zabriskie Point and my initial argument both stemmed from Žižek. But, this reading is all mine. The 60s and 70s were tumultuous times. There are the Protests of May 1968. Deleuze and Guattari penned Anti-Oedipus: Capitalism and Schizophrenia in the shadow of these events. D & G challenged Freud's psychoanalysis by positing libido as a positive, productive force which needs to be unrestrained for human beings to…
Melancholy and obvious cult favorite from Antonioni may be the least serious but also one of the most relaxing forms of entertainment from the director's career.
Fascinating and beautiful camerawork throughout-as one would expect from this notable filmmaker.
Story is of a couple who meet in the desert and spend a day together at Zabriskie Point-a place that use to flourish with water millions of years ago and is now beautiful but desolate.
Film starts out as a meditation on the machinations of the social and political landscape of capitalism and counterculture revolutionary ideas from the 60's-but it soars into the air and becomes a prayer for something much deeper.
Seems obvious why the film failed when it premiered in…
One of the most interesting and creative final sequences I have ever seen.
It's a shame the film was very dull up until that point.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game
- Marketa Lazarová
- Ali: Fear Eats the Soul
Everyone has to start somewhere and although there might be quite a few great lists that introduce people to foreign…