"L'avventura" is Michelangelo Antonioni's mind-blowing film about nothing. No, I don't mean "nothing happens." On the contrary it has a suspenseful story which, in the hands of someone like David Fincher, would be a steamy heart-pounding thriller. A girl goes mysteriously missing on a remote Italian island while her fiancé and her best friend have a mystery of their own. A ton happens. But the movie is about "nothing" - the palpable spectre of oblivion, the unknown, and hollow faith that haunts us all.
Antonioni made the statement at Cannes: "Today the world is endangered by an extremely serious split between a science that is totally and consciously projected into the future, and a rigid and stereotyped morality which all of us recognize as such and yet sustain out of cowardice or sheer laziness (...) Moral man, who has no fear of the scientific unknown, is today afraid of the moral unknown."
In other words, he is saying we have accepted the scientific unknown (an infinitely unknown universe) and embraced it exploration into the future, but in terms of morality we cling to traditional, archaic stereotypes of the past. There are definitely religious overtones in images of empty churches, but specifically the film focuses on the institution of marriage and the concept of everlasting love which, when not attained, leads people to misery; yet we cling to it "out of cowardice or sheer laziness."
"L'avventura" focuses on the inherent "nothing" of love. It opens on a woman bidding farewell to her father in a very cold, emotionless way as he himself conducts a soulless business deal--selling their sprawling property to be razed and turned into cheap apartments. She then goes to meet her lover whom she hasn't seen in a month, but at the last minute she decides she'd rather go have coffee by herself because she prefers the feeling of being without him. The story unfolds as they and a group of other wealthy Italian couples take a boat to an isolated island, and on the way over we quickly learn that each couple is a loveless marriage with each person barely tolerating if not despising their spouse. And yet they remain together out of cowardice or sheer laziness.
Then the film does something absolutely brilliant to illustrate this concept of "nothing". About 30 minutes into the story, the entire plot disappears. Literally we are left without a plot, without a protagonist, and with nothing but a bunch of characters stumbling around trying to figure out what to do next. If you're not prepared for this shift you may end up frustrated or hating the movie because suddenly there's no point. But "no point" *is* the point.
As the characters lead a lukewarm effort to search for their missing companion (symbolically, the plot) they become increasingly apathetic toward the whole tragedy, and instead they resume their miserable lives, their loveless pairings, and their general lazy adherence to the way things always were. And in this way Antonioni illustrates what he said at Cannes. When faced with the moral unknown, rather than seizing and exploring it as we would with science, we fall back on familiar, tired patterns.
The film then breaks off to follow 2 characters in their half-hearted search. They travel through wonderfully surreal settings: towns that are completely deserted, or the opposite: a chaotic spectacle of hundreds of lusty men chasing after a pretty girl who has ripped her skirt. All of these scenes are majestically and gorgeously shot, and even if you don't immediately grasp the symbolism, you can't help but be stunned at how gripping the images are.
Initially booed by the audience at its premiere, "L'avventura" is definitely a challenging film. It gives us a plot but then rips the plot out from under us, replacing it with another, and then even that plot gradually sinks into a "love story". But if you're paying attention, you can guess that even the love story is ephemeral and fleeting. When the final, breathtaking scene ends, come back here and re-read the Antonioni quote (or better yet, search for the whole text and read it all) and you'll get it. "L'avventura" is about nothing.
Antonioni made the statement at Cannes: "Today the world is endangered by an extremely serious split between a science that is totally and consciously projected into the future, and a rigid and stereotyped morality which all of us recognize as such and yet sustain out of cowardice or sheer laziness (...) Moral man, who has no fear of the scientific unknown, is today afraid of the moral unknown."
In other words, he is saying we have accepted the scientific unknown (an infinitely unknown universe) and embraced it exploration into the future, but in terms of morality we cling to traditional, archaic stereotypes of the past. There are definitely religious overtones in images of empty churches, but specifically the film focuses on the institution of marriage and the concept of everlasting love which, when not attained, leads people to misery; yet we cling to it "out of cowardice or sheer laziness."
"L'avventura" focuses on the inherent "nothing" of love. It opens on a woman bidding farewell to her father in a very cold, emotionless way as he himself conducts a soulless business deal--selling their sprawling property to be razed and turned into cheap apartments. She then goes to meet her lover whom she hasn't seen in a month, but at the last minute she decides she'd rather go have coffee by herself because she prefers the feeling of being without him. The story unfolds as they and a group of other wealthy Italian couples take a boat to an isolated island, and on the way over we quickly learn that each couple is a loveless marriage with each person barely tolerating if not despising their spouse. And yet they remain together out of cowardice or sheer laziness.
Then the film does something absolutely brilliant to illustrate this concept of "nothing". About 30 minutes into the story, the entire plot disappears. Literally we are left without a plot, without a protagonist, and with nothing but a bunch of characters stumbling around trying to figure out what to do next. If you're not prepared for this shift you may end up frustrated or hating the movie because suddenly there's no point. But "no point" *is* the point.
As the characters lead a lukewarm effort to search for their missing companion (symbolically, the plot) they become increasingly apathetic toward the whole tragedy, and instead they resume their miserable lives, their loveless pairings, and their general lazy adherence to the way things always were. And in this way Antonioni illustrates what he said at Cannes. When faced with the moral unknown, rather than seizing and exploring it as we would with science, we fall back on familiar, tired patterns.
The film then breaks off to follow 2 characters in their half-hearted search. They travel through wonderfully surreal settings: towns that are completely deserted, or the opposite: a chaotic spectacle of hundreds of lusty men chasing after a pretty girl who has ripped her skirt. All of these scenes are majestically and gorgeously shot, and even if you don't immediately grasp the symbolism, you can't help but be stunned at how gripping the images are.
Initially booed by the audience at its premiere, "L'avventura" is definitely a challenging film. It gives us a plot but then rips the plot out from under us, replacing it with another, and then even that plot gradually sinks into a "love story". But if you're paying attention, you can guess that even the love story is ephemeral and fleeting. When the final, breathtaking scene ends, come back here and re-read the Antonioni quote (or better yet, search for the whole text and read it all) and you'll get it. "L'avventura" is about nothing.