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The women in Michelangelo Antonioni's films provide desperate proof of the alienation of the city. In Antonioni's trilogy--L'avventura (1960), La notte (1961), and L'eclisse (1962)-empty streets, stark urban landscapes, and thin, agitated, unhappy people represent the anxiety of modern city life and its excessive consumerism, its obsession with money and status, and the lingering, overarching paranoia of global, nuclear holocaust. In each film of the trilogy, the female protagonist wanders through the often lunar landscapes of empty cities searching, wide-eyed and nervous, for the spiritual or emotional elements which modern life no longer provides. In these films, the male leads remain virtually oblivious to the woman's pain. They are often fully integrated into the menacing surroundings that frighten the female protagonist. The contrast between the ways in which men and women react to their external environments allows the viewer to understand Antonioni's vision of modern society. Antonioni depicts women as particularly removed from their surroundings, especially inhabited spaces that remain dominated by men. These three films have been discussed as a trilogy due to their thematic similarities.' Each film explores emotional life in the modern world. These works emphasize the loneliness of the female character within her surroundings, whether it is the towns of Sicily, the wealthy suburbs of Milan, or the stock market of Rome. In each film, Antonioni's camera lingers on the main character's troubled facial expressions as she wanders through often deserted urban streets, highlighting her Peter Brunette notes the "insistent treatment" of these films as a trilogy (5). Fabrizio Deriu, quoting Lorenzo Cucco, defines these films and Deserto rosso "la tetralogia dei sentimenti" (loi), "a tetralogy of feelings." |
