A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
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…
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…
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.
Antonioni's politics are frustrating; he's an astute critic of consumer society, but he always ends up throwing up his hands and giving up. Mark embodied that here, and it's pretty obnoxious on him. Daria is a non-character. While he's never been about linear plotting, this feels less controlled than usual. But, it's still full of great ideas and wonderful visuals, especially that "fuck it all" ending.
So mostly I was just upset at the main guy in this movie. He hangs out with counterculture types like black people who have actual concerns about how they're being treated. But when it comes down to actually standing up to cops or doing anything of damn import, he just decides to steal a plane and go have sex with some girl in the desert, like, probably getting sand all up his crack and everything. He gets shot, and, YEAH, he pretty much deserved it as far as I'm concerned
holy shit those last five minutes
good sex scene and ending
the rest i'm still digesting
or not digesting i guess i was tired i do not know the plot of this movie
Vaya pedazo de MIERDA, POR DIOS.
Ah, pues qué bien.
A simple, overwhelmingly beautiful film. Why it's synonymous with "flop", "critically panned", and "one of the worst ever", I'll never understand.
I watched this many years ago — only because of the soundtrack — and thought that it was a silly and boring failure of a countercultural film; no doubt I had a few beers in me at the time and was preoccupied with trying to sneak a peek up Daria Halprin's dress. It was also most likely a grainy pan-and-scan affair, which would have ruined the excellent widescreen cinematography by Alfio Contini.
Seeing it again now, in widescreen and with no preconceptions, it was a completely different experience. It's an outsider's view of America, and like Herzog's Strozek after it, it depicts the nation as a barren wasteland, except Antonioni's America is also menaced by police, corporations, materialism and repression.…
Good movie, dated of course but still a good one.
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
From his book Essential Cinema.
A huge thanks to everyone who added films, helped me find films with alternate titles,…