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1961 Italian drama film
- La Notte ([la ˈnɔtte]; English: "The Night") is a 1961 Italian drama film directed by Michelangelo Antonioni and starring Marcello Mastroianni, Jeanne Moreau and Monica Vitti (with Umberto Eco appearing in a cameo).
en.wikipedia.org/wiki/La_Notte
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La Notte ([la ˈnɔtte]; English: "The Night") is a 1961 Italian drama film directed by Michelangelo Antonioni and starring Marcello Mastroianni, Jeanne Moreau and Monica Vitti (with Umberto Eco appearing in a cameo). [1]
Jan 20, 2021 · Bookended by L’avventura (1960) and L’eclisse (1962), it’s in Antonioni’s 1961 film, La notte, that his critique of the rich jetsetters hits its mark most powerfully.
La Notte: Directed by Michelangelo Antonioni. With Marcello Mastroianni, Jeanne Moreau, Monica Vitti, Bernhard Wicki. A day in the life of an unfaithful married couple and their steadily deteriorating relationship.
- (24K)
- Drama
- Michelangelo Antonioni
- 1962-02-19
Sep 15, 2016 · Two of the screen’s most melancholic beauties, Jeanne Moreau and Marcello Mastroianni, are the searchers in “La Notte,” which is receiving its first major stateside reissue in more than half ...
La Notte is a 1961 Italian drama directed by Michelangelo Antonioni. The film stars Marcello Mastroianni and Jeanne Moreau as a couple experiencing a decline in their relationship amidst a backdrop of social and moral decay. Encompassing a single day and night in Milan, the story explores themes of loneliness and existential disillusionment, highlighting the characters' search for meaning in a ...
La notte. This psychologically acute, visually striking modernist work was director Michelangelo Antonioni’s follow-up to the epochal L’avventura. Marcello Mastroianni and Jeanne Moreau star as a novelist and his frustrated wife, who, over the course of one night, confront their alienation from each other and the achingly empty bourgeois ...
Sep 9, 2016 · Antonioni’s most emotionally acute and devastating deconstruction of the interpersonal travails of the bourgeoisie, the film remains at once the most bracingly concrete and amorously diffuse of the director’s—for lack of a better word—structuralist period.
