Alternatives to Sight and Sound's Top 250 Films of All Time list named by /r/truefilm's community. With notes. Inspired by…
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.
What Antonioni CAN'T do has always been as mind-blowing as what he can do. See Ingmar Bergman's infamous assessment that Antonioni is an amateur. In this film, Antonioni can't do anything; least of all, film two people talking to each other. Previously he never tried to film a conversation. He makes an honest attempt to do so here, and therein lies the problem: Antonioni doesn't have an honest bone in his body.
We have to have the courage to admit that in the past hundred years all art has been reduced to complaining. An artist is lesser or greater depending on how much he complains. They call it ‘denunciation’. The fact is that it’s complaining, because if it were protest…
→ 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…
This may be Antonioni's half-forgotten masterpiece (although L'Eclisse is definitely better) which acts as a takedown of not just American values and the supposed 'American dream' but proposes the idea that there is no such thing as 'the American value' or 'the American dream' - it's a wondrous anti-celebration of life.
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'm so fascinated to the youth movements in the late sixties and seventies in the U.S. for the changes they have done to their era. Zabriskie Point unfolds the meaning of life to those young fellows what so-called hippies, and how capitalism has destroyed their country. The idea of being isolated from nature.
When it comes to cinematography films, Antonioni is so gifted. And that why most people who hated this film are tend to narrative films. The valley scene and the aerial shoots are so much impressive. As well as the soundtrack is stunning.
Zabrieski Point. Michelangelo Antonioni. 1970.
Los Angeles as America; students protesting against the ‘man’ in a landscape of commodities and real estate offices overlooking gigantic flags and parking lots. The two drifters escape in a borrowed car and a stolen airplane to the moonscape in the desert where a primitive orgy is the mirror of the city - the other America. Almost paradise until it too becomes commodity. The house in the desert where real estate deals are struck is an America landscape fantasy with a swimming pool, a fountain inside the house and glass balconies overlooking the landscape. It is blown up in spectacular slow motion as retribution for corruption.
Antonioni has a rare talent - he manages to make films that are simultaneously grounded in reality but at the same time peppered with beautiful surrealism, establishing an uncanny valley, a world that is so close to our own but not quite there. Causality is internal to the characters, psychological, as opposed to the usual external cause and effect structure that so often defines the stories we see told on screen. Things just kind of happen here, but it's great nonetheless, because the movie isn't about how people do things, it's about the things people do. This is Antonioni's world. Zabriskie Point is amongst the most beautiful love stories I've seen on film.
Far and away the best Antonioni flick I've seen.
Just a fucking impressive visual feast.
After being pleasantly surprised that both Red Desert and Blow-Up were actually better than I remembered, this came as a bit of a disappointment. I had previously considered this to be one of Antonioni's best films, and while it's hardly bad by any stretch, it definitely comes across now as one of his weaker efforts. This is due perhaps in part to the fact that I at least now have some vague semblance of a political conscience compared to when I last saw it, which drew my attention to just how utterly clueless and confused the film's politics appear to be.
But even beyond that, it's honestly hard for me to comprehend how I failed to notice how stilted and…
Zabriskie Point is just over and I am soaring. Flowing and soaring above the dead city in a painted airplane of soothing green and glowing red.
The film is deeply cynic, beautiful, spectacularly composed and explosively anti-explosive.
Death with an unshot gun, love with no orgasm, it seems Michelangelo Antonioni was building up too a film with death and unrealized vengenace in its wake - right till the very end, where the false, gass caged, plastic wrapped America crashes down in a sea of flames, burning books, into a pit of whirling smoke as uncertain as the life it used to lead.
The life of the dead desert, the walk on the wild side of insane sanity. The realization of…
Before watching this I was watching some trendy Norwegian movie about going blind that was competently shot but ultimately just a reflection of what can be accomplished with digital photography and nice lighting; I saw it sputtering to completion in the same way it was going, and then I thought, I want to watch the Antonioni movie I got.
I've seen three of Antonioni's color films on 35mm, Red Desert, Blow-Up, and the Passenger, and until now, I might have said his black and white ones are generally better. And in contrast to a trendy festival movie made with your recent wife, they're all cinematic. That's what's made me able to watch my La Notte bluray countless times - at…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
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