Josiah Morgan’s review published on Letterboxd:
Shifting from the freeform open space of the sea and the bustling interiors of parties into the claustrophobic and oppressive nestled alleyways of the bustling city, Antonioni moves from dreamlike soundscapes to the off-kilter unsettling affect of the diegetic noise of cars and footsteps and birdsong and life as it crumbles around these characters, these people. Everything is automated in the world of La Notte, a sign of a world removed from itself. I may well be executed for saying this, but La Notte is Bergman without the hostile demeanor of the cinematography, it's Bergman with a more loving touch, Bergman with a caress - and it's wholly its own.
I have discovered recently what exactly the thematic strand is that carries through all of my favorite films; that is, it is not life through a lens, but the end of one - whether that be shown through a positive, negative, or surreal filter, it doesn't matter, but all of my favorite films are about one thing: the end.
Maybe I'm a nihilist.