Michelangelo Antonioni, between Genius and Modernism
Cinema Italia kept its Spring tradition alive with a five-film retrospective on Michelangelo Antonioni. The one-day program, co-curated by Luce Cinecittà and The Museum of Modern Art in New York City, is meant to commemorate the 10th anniversary of the passing of one of the most known Italian directors. The Castro Theatre will be, once again, the venue that inaugurates the 2018–2019 tour, screening restored DCPs and new 35mm film prints.
Last year’s edition of Cinema Italia. From far left, Sophoan Sorn, Festival Advisor; Sabrina Longega, Special Event Coordinator; and Amelia Antonucci, Program Director
Amelia Antonucci launched the first program in 2013, presenting the best of classic Italian cinema in San Francisco, including Pier Paolo Pasolini (2013), Bernardo Bertolucci (2014), Vittorio de Sica (2015), Anna Magnani (2016), Dino Risi (Spring 2017), Lina Wertmüller (Fall 2017).
The first series of 2018 is very special to the Program Director and, during a conversation with L’Italo-Americano, Mrs Antonucci could not hold her excitement: “This year’s festival recalls the first I curated when I was the Head of the Movie Department at the Italian Cultural Institute in New York City in 1992. That was also the first time I met with Cinecittà representatives, among whom there was Camilla Cormanni (Responsible of International Cultural Events at Luce Cinecittà — e.n.). We came up with an unforgettable event, that Director Antonioni attended himself with his wife Enrica, although he was recovering from a stroke he suffered from a few months earlier. I keep that festival in my heart as one of the best memories of my life”.
Monica Vitti in Antonioni’s movie “Red Desert”
Amelia, can you recall any special episode from that program?
Yes, of course! I remember we really wanted to have “The passenger” as one of the movies of the program. However, the rights at that time were owned by Jack Nicholson. In addition to that, there was a particular scene of that movie that had been cut off from the American version. That scene was of about seven minutes and were instead part of the Italian version, the one we were supposed to put on the screen. Eventually, after many weeks, we got a green light by Mr Nicholson and everything went pretty smooth.
Tell us about the atmosphere around the festival
The festival took place at the Lincoln Center in New York. Mr Antonioni showed up at the theatre with actress Maria Schneider. The atmosphere was vibrant, the festival itself had already had some great reviews and everybody was looking forward to watching Antonioni’s movies.
What has changed in the last two decades when you look at those movies and at the two cities?
Antonioni helped turn Italian film away from neorealism and moved towards a cinema that is more interested in exploring the human being. The well-being of Antonioni’s characters comes with dissatisfaction. For instance, Monica Vitti’s characters usually represent that double aspect of life: while she can afford anything she wants, she is extremely unhappy with her life. This attempt of escaping from boredom always comes alongside a certain environment, turning the storytelling and the architecture into the perfect duo of representation.
How would you explain the movies you chose as part of Cinema Italia SF?
Cinema Italia works very close to Luce Cinecittà when it comes to pick the movies for our audience. The list includes 17–18 movies, usually they all go on screen during the Preview at the MoMa in New York City. For the San Francisco’s audience, instead, I picked five movies that I believe better represent Antonioni and the reason why we love him. Those movies have completely changed the audience’s understanding of Italian cinema. Not only does that way of making movies focus on screenwriting and acting, but also on photography, psychoanalysis, and architecture.
What do you expect from San Francisco then?
After Lina Wertmüller’s program, I’d expect a big success for Antonioni as well. Last September, we had more than 1300 people, besides the moderate coverage provided by the local press. Now we have a big name, and also a director who has shown a great modernity, whose movies reflect the ability to describe everybody’s life in a way that it’s impossible to not like.
L’avventura (1960) — feat. Gabriele Ferzetti, Monica Vitti, Lea Massari
This sort of “detective story” features two young women, Anna and Claudia, who join Sandro, Anna’s lover, on a boat trip to a remote island. When Anna goes missing, in the middle of a search, Sandro and Claudia get involved in a romance despite Anna’s disappearance. The film was nominated for numerous awards and was awarded the Jury Prize at the 1960 Cannes Film Festival.
L’eclisse (1962) — feat Monica Vitti, Alain Delon, Francisco Rabal
A tailspin at the Rome stock exchange serves as a backdrop for a love affair between a translator and her mother’s stockbroker. Vittoria and Piero begin a relationship with lots of difficulties, and their commitment to one another is tested during an eclipse. Antonioni focuses on anomie and alienation, with a famous final scene of suspense.
Deserto Rosso (1964) — feat. Monica Vitti, Richard Harris, Carlo Chionetti
The new, digitally restored 4K digital DCP (courtesy of CSC-Cineteca Nazionale and Istituto Luce Cinecittà) gives a provocative look at the spiritual desolation of the technological age. A disaffected woman wander through a bleak industrial landscape beset by power plants and environmental toxins, and tentatively flirting with her husband’s coworker. The movie creates a nearly apocalyptic image of its time.
Blow Up (1966) — feat. David Hemmings, Vanessa Redgrave, Jane Birkin, Sarah Miles
First Antonioni’s English movie, it features Thomas, a London photographer, who spends his time photographing fashion models. One day, he thinks he may have photographed a murder. After taking pictures in the park, Thomas is horrified to find an ambiguous image lurking on the edge of the frame, which could be a shadow, but looks like a gun. The only thing clear is that the woman in the photo has appeared at his studio and she wants the pictures he took.
The Passenger feat Jack Nicholson, Maria Schneider, Jenny Runacre
In one of his greatest performances, Jack Nicholson is a television reporter on assignment in Africa. In an attempt to reinvent himself, he sheds all ties to his past and gets the identity of a dead man. Aided by a beautiful woman, Locke attempts to avoid both the police and criminals out to get him.
The program of Cinema Italia takes place at the Castro Theatre on Saturday, April 28 starting at 10.30 am with L’avventura, followed by L’eclisse, Red Desert, and Blow up, the main feature at 6:30pm. At 8.30pm, the Mezzanine will host “La cupola” party, inspired by the famous villa that architect Dante Bini built for Michelangelo Antonioni in Costa Paradiso, Sardinia. The program ends with the screening of “The Passenger”, starting at 10pm. Tickets can be bought online at http://www.cinemaitaliasf.com (you can buy single tickets or a day pass that includes all movies and the party).
Originally published at www.italoamericano.org on April 19, 2018.
