French as Author La dame de Monsoreau — Tome 2.
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French as Author La dame de Monsoreau — Tome 3. French as Author De Drie Musketiers dl. Mainwaring A Parisian Sultana, Vol. Harry C.
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The Works of Voltaire, Vol. Romances, Vol. English as Translator Flint, F. Libro de motes de damas y caballeros Spanish as Editor Tragicomedia de Lisandro y Roselia llamada Elicia, y por otro nombre cuarta obra y tercera Celestina.
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Les hommes de paille French as Author L'argent des autres: 2. Pascale et Marguerite; 2. I Spanish as Author of introduction, etc. A Novel English as Author of introduction, etc.
Froth: A Novel English as Author of introduction, etc. Lemoine, A. Corinne; Or, Italy. I Italian as Author Il secolo che muore, vol. II Italian as Author Il secolo che muore, vol. See: O'Brien, Edward J.
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Augustus O. Lane, John, Mrs. I, to English as Author of introduction, etc. English as Contributor Leighton, Mrs. English as Author Amadis of Gaul, Vol. See: L. Opere di Alessando Manzoni, vol. Meyer, L. Milhau, M. A Heroic Comedy in Five Acts. Ministero degli Affari Esteri e della Cooperazione Internazionale. Sono seguiti La notte , L'eclisse , premio speciale della giuria al Festival di Cannes, e Deserto rosso , Leone d'oro alla Mostra del cinema di Venezia.
Le sue pellicole sono caratterizzate da ritmi lenti, narrazioni vaghe, caratteri enigmatici e finali inconcludenti. Architecture scholar James Macgillivray discusses how Antonioni frames space, landscape, and Rome's postwar architecture in L'Eclisse to construct an environment that is as important as the people within it. Their passion enflamed anew, the two lovers conspire to kill the suspicious spouse. Semiotically sleek and impossibly chic, with its glistening succession of luxurious cars and boudoirs, Story of a Love Affair is "an amazing film, and one of the great feature debuts in movie history" Jeffrey M.
A beautiful 35mm print of Antonioni's epochal masterpiece, which provoked outrage at the Cannes Film Festival but quickly established its claim as "the most important film since Citizen Kane" Robert Benayoun and, along with Godard's Breathless, Bresson's Pickpocket and Resnais' Hiroshima mon amour, a foundation of modernist cinema.
The woman's architect lover Gabriele Ferzetti and best friend Monica Vitti travel through Sicily in search of her, but the urgency of their pursuit dissipates as they fall into an uneasy sexual relationship. Part love story, part detective mystery, and part travelogue, L'Avventura continues to influence contemporary cinema with its unmoored narrative and existential themes. See it now or never: I Vinti is the rarest of Antonioni's features, and consequently the most neglected the director often expressed frustration that it did not receive the analysis it deserved.
Made for a Catholic production company, which intended it as a dire commentary on the amoral state of postwar European youth the original English title was Youth and Perversion , the film transforms conventional social document into stylistic experiment with its three-part structure. Part One focuses on a group of Parisian teenagers on an outing, one of whom pretends to be a racketeer and is murdered for his money; shifting to Rome, the middle episode centres on the son of a rich family who becomes involved in a contraband ring; the concluding chapter, which foreshadows Antonioni's fascination with London in Blow-Up, is a Hitchcockian portrait of a would-be poet who decides to become famous by murdering a woman.
Writer and essayist Durga Chew-Bose considers the performances of Red Desert star Monica Vitti and the crucial contribution that the actress made to Antonioni's work. Based on a Pavese novella, Le Amiche is about a young woman who returns to her native Turin to open a fashion salon and falls in with a "smart set," including the suicidal daughter of an eminent family, a painter who is jealous of his wife's success, and a viperous woman who vents her despair by attacking her closest friends.
In its emphasis on the spiritual and moral malaise of the wealthy, and in its stunningly abstract style, this important early work looks forward to the filmmaker's groundbreaking trilogy of the early '60s. A meticulous restoration of the ever-enigmatic Blow-Up, whose narrative ambiguities and irresolutions made it the trendiest cinematic conversation piece since Last Year at Marienbad and which continues to elicit intense critical scrutiny half a century after its making.
Antonioni's first film in English is set in "swinging" mid-'60s London, where a disaffected fashion photographer David Hemmings stumbles upon a murder while taking pictures of a couple making love in a park — or so his blown-up photographs of the tryst seem to suggest. Hemmings is a whiter shade of pale as the callow shutterbug, his pallid ennui masterfully deployed by Antonioni, while Vanessa Redgrave is incandescent as the woman who may or may not have been used as lure to kill her suitor, her erotic anxiety palpable as she tries to wrest from the photographer an image that has both literally and metaphorically captured her.
None other than Bernardo Bertolucci called The Lady Without Camellias "a beautiful Antonioni film that is very underrated — it's one of his best. He becomes insanely jealous of her consorting with actors, marries her, and attempts to change her image by casting her as Joan of Arc in his first art film. A devastating work that is an ideal companion to Visconti's Bellissima, Camellias was originally conceived for Gina Lollobrigida, who turned it down because of its stinging portrait of the Italian film industry and of actresses very much like her.
Marcello Mastroianni plays an exhausted novelist coasting on his reputation, Jeanne Moreau his disenchanted wife who declares "I wish I didn't exist anymore. Antonioni captures vast currents of shifting power — whether sexual or cultural — in chilling and resonant details" Richard Brody, The New Yorker. Set in southern California at the height of late-'60s student unrest, Antonioni's first and only American film was dismissed as risible by many critics at the time of its release, but in the decades since it has acquired a cult following and influenced artists and filmmakers from Rodney Graham and Bruno Dumont to Ed Ruscha and the Smashing Pumpkins.
Non-professional actor Mark Frechette plays Mark, a student activist who goes on the run after being accused of killing a cop. Stealing an airplane, he lands in Death Valley and encounters Daria non-professional actor Daria Halprin , a young woman who works for a rapacious property developer. In a renowned sequence, the two young people make love in the desert, where they are joined by dozens of other copulating couples in a seemingly LSD-induced fantasy. Famously culminating in a literally explosive finale, Antonioni's vision of America offers semiotic splendour and surprisingly contemporary truths; like so many of his films, it looks more radical — formally, thematically, politically — than it did when originally released.
Antonioni's evocation of anomie and alienation was never so exquisitely articulated as in L'Eclisse, which the filmmaker once declared his personal favourite of his "old films": "from the point of view of style it is the most rigorous, and therefore the most successful. Also it is the most modern. About this Item: Milano, Rizzoli, Condition: Ottimo Fine. Milano, Rizzoli italiano, cm 22,5 x 14 pp. Published by Koch Records Universal Music , Condition: Neu.
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TIFF Cinematheque – Restrospettiva su Michelangelo Antonioni
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