Best movie ever!

Bad Acting and worse Bad Screenplay

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

L'ECLISSE is a romantic drama about an alienation, life's riddles and relationships.Vittoria, a young literary translator, breaks off her relationship with her boyfriend, an older writer, in his apartment, following a long night of conversation. Sometime later, she visits her mother at the frantic Rome Stock Exchange, which is very busy upon Vittoria's entrance. She meets a young and energetic stockbroker. He is her mother's stock broker. Vittoria attempts to discuss her own recent breakup, but her mother is preoccupied with her earned profits. However, she is impressed with a young stockbroker, his character, outlook and business...Mr. Antonioni has continued his tradition. His vague and abstract pictures are a reflection of human relations and interests. The protagonists are sad, confused and somewhat lifeless. This is not a story about an unhappy or elusive love. This is a story about the needs and emotions in a material world. Mr. Antonioni has made a contrast between the inner moods of a woman and intimidating behavior of a group of people who run for the money. His unconventional narrative reveals a naked truth, especially in final scenes.The characters are lost and vague.Monica Vitti as Vittoria is a timid and suspicious young woman, who sees the pieces of greed and lust in the people around her. Due to her lack of confidence and self introversion, she is trying to establish an abstract relationship with objects. Alain Delon as Piero is a young beauty from a material world. He, unconsciously, complements Vittorias nature. However, his relaxed approach, in terms of love, has a negative effect on her.The last scenes are a kind of projection of a material life, in which a normal existence is not possible.

At first i was quite annoyed with the ending of this movie. I wanted to write of the ending as a "pretentious" ending to an already meandering film.Upon further reflection I did realize that the ending had a very specific purpose, to punctuate the core theme of this film.We follow the woman Vittoria. She ends a relationship with Riccardo, but can't exactly explain to him why she doesn't love him anymore. She goes to see her mother at the stock exchange. Her mother gambles with money at the stock exchange in order to avoid living in poverty ever again like she used to when growing up. Vittoria claims not to really care about money. While at the stock exchange Vittoria meets money broker Piero, he is attracted and throughout the film aims to pursue her. Vittoria never quite manages to relate with Piero and dodges him whenever he tries to kiss her. Yet she eventually falls for his charms. She seems however fully aware for most of the time that her feelings are only be a flight of fancy.L'Eclisse is the story of a person that never feels like she can connect with other people or the world as a a whole and is a carefully crafted examination of these feelings.The reason I give it such high praise, yet do not rate it higher than an 8. Is because for one this movie, although very well shot and acted, was quite a bore on this first viewing and because of its meandering, small on dialogue nature, I only managed to put together what it was about couple of hours after my viewing. So for most of the time I was somewhat annoyed, especially near the ending which I at first thought was just meaningless drivel.It is quite funny how my opinion of a film can change so much in the span of a few hours. Perhaps I will rate it higher on an eventual re-watch sometime in the future.

Vittoria is dissatisfied with love. With life. With the world. She stands before us in a slinky black dress, her white blonde hair afraid of another tease, her cat eyes worried they might look the other way and find yet another object that brings no happiness. A light breeze hits her ethereally beautiful composure, idling from an electric fan that can barely suppress the unbearable heat that has consumed the neighborhood. She wanders around the room like a fashion model clamoring for a good shot, only to promptly lie down on a feathery sofa in protest. As she regains the strength to pick herself back up, she walks over to her older lover with magnetic intent. They talk. They stare at each other in silence. "I'm leaving," Vittoria announces. A few moments go by. Vittoria wants to explain herself — she wishes she could deliver yet another "it's not you, it's me" spiel — but she can't. She doesn't know what she wants, she doesn't know if love is enough, and she sure as hell doesn't know how to explain the emptiness she feels in such a repetitive continuum. But she knows one thing; one more minute of her current life and she might scream her lungs out into a vacant room. Michelangelo Antonioni has a blunt fascination with dissolution, disappearance, and death: in his L'Avventura, a woman simply vanishes into thin air after a boating trip to a remote island. In 1966's Blowup, a dead body is discovered in a park through a series of voyeuristic photos; problem is, the entire crime may just be an illusion. L'Eclisse is a labyrinth of silence and oppression where you can't quite grasp your motives and temptations. Communication only seems to be comfortable when within the barriers of small-talk and flirtations. Everything is so materialistic that if you suddenly died of a heart attack, everyone would gasp for vivid emphasis but turn around and continue self-serving without mourning for a minute. L'Eclisse has the optimism of a cynical teenager, questioning if life really matters and if romance really can make all the difference. It's enormously heavy stuff, and Antonioni ices a rich drizzling of alienation and isolation with the craftsmanship of a master chef. A luminous Monica Vitti portrays Vittoria with such warm-blooded specificity that the coldness of her mental state comes by as a surprise. She is slowly losing the carefree euphoria of her youth, and is beginning to wonder if life, as repetitive as it is, is all that it's cracked up to be. After breaking up with her long-time lover, she begins to find herself attracted to Piero (an always charismatic Alain Delon), a younger stockbroker that emanates confidence and fortunately lacks the acumen that made her former partner such an unwavering bore. It doesn't take long before they embark on a blazing affair, but even with lingering infatuation on their side, they are confronted with their innermost fears, hurting their chances of lasting love.L'Eclisse is not so much a love story as it is an expression of loneliness; the central characters want their hesitations to come to an end, but they can't seem to find themselves fulfilled in any direction they go. As children, they were told that love and marriage and kids and a big house were all you needed to find happiness, but as they age, it becomes increasingly clear that such elementary ideas are merely a distraction, not a solution.Antonioni can't answer the questions he poses with such ardor, but he asks them so convincingly that it proves to be impossible to finish the film without a feeling of despair at the pit of your stomach. The conclusion, which finds both characters alone and out of the picture, is simply a series of city shots that rattle with a stirringly desolate ambiance. It's a courageous way to end a film, but it only deepens what Antonioni was going for already. What if love doesn't matter? What if life doesn't matter? What if we're alone for the rest of our lives? Will anyone care? If sexy stars like Monica Vitti and Alain Delon can't lose themselves in a syrupy love story that tricks us into thinking that the world isn't a cruel place, then who can? L'Eclisse is not for the faint of heart, but if you give it a chance, you'll find yourself experiencing feelings you never thought you'd feel before.Read more reviews at petersonreviews.com

It's more about Poetry and Photography than anything else.. You can see the flow from the very first begging, elements' usage and Camera Panoramic Movement! you can always see this Comparison between underlying beauty in the old city styles, and materialist new civilization Burning everything around it.. this very living 6 mins "the first six of last ten" rapidly moving and full of life till it broke the rhythm when Vittoria went down stairs! and then the big Scene Of "Fine" .. Total work of Poetry And Photography.. It was Bit slow YES but this was totally one of it's photographic characters.. and condensed YES because this is Poetry :) Enjoy it.