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Word: antonioni (lookup in dictionary) (lookup stats)
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...Desert is at once the most beautiful, the most simple and the most daring film yet made by Italy's masterful Michelangelo Antonioni, a director so prodigiously gifted that he can marshal a whole new vocabulary of cinema to reiterate his now-familiar themes. The new element of Antonioni's art is color. In Red Desert he shows a painterly approach to each frame; indeed he had whole fields and streets sprayed with pigment to produce precise shades of mood and meaning. Never has so bleak a vision of contemporary life been projected with more intensity, from craven...

Author: /time Magazine | Title: Cinema: Antonioni in Color | 2/19/1965 | See Source »

...great modern directors of the cinema, Antonioni and Resnais, collaborate on their first film, declaring that it will "try to capture the langorous, subtle rhythyms of the vita vrai." While viewing it a student declares that "if someone isn't killed within thirty minutes I'm getting out of here." No one is, he does...

Author: NO WRITER ATTRIBUTED | Title: Tea Leaves and Taurus | 1/4/1965 | See Source »

...best, Director Leopoldo Torre Nilsson, Argentina's foremost film maker, studies his homeland with an unblinking poet's eye that invites comparison to Antonioni and Bergman. He deftly juggles modish effects, melding sun and skin into the languid what-next boredom of a summer afternoon or exposing the backbone of a scene with the blinding suddenness of a flashbulb popping in the dark...

Author: /time Magazine | Title: Cinema: Argentine Malaise | 12/4/1964 | See Source »

...Missing from the Lincoln Center bill, however, were Jacques Demy's The Umbrellas of Cherbourg, winner of the 1964 Cannes Festival's Grand Prix, and Michelangelo Antonioni's Red Desert, recent top choice of the judges at Venice...

Author: /time Magazine | Title: Cinema: Festival in New York | 9/25/1964 | See Source »

Disorder boasts an impressive roster of international film stars sloshing through still another odyssey of contemporary moral chaos. In this artiest of art films, the malaise reaches epidemic proportions. To make his points, fledgling Italian Director Franco Brusati borrows freely but not well from Antonioni, Fellini, Visconti and perhaps Bunuel, hopefully compiling a whole movie from the kind of footage the masters might have left...

Author: /time Magazine | Title: Cinema: Malaise | 6/5/1964 | See Source »

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