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Michelangelo Antonioni, Cavaliere di Gran Croce OMR (29 September 1912 – 30 July 2007), was an Italian film director, screenwriter, editor, and short story writer. Best known for his "trilogy on modernity and its discontents"—L'Avventura (1960), La Notte (1961), and L'Eclisse (1962)—Antonioni "redefined the concept of narrative cinema" and challenged traditional approaches to storytelling, realism, drama, and the world at large.  http://www.imdb.com/name/nm0000774/

Michelangelo Antonioni, Cavaliere di Gran Croce OMR (29 September 1912 – 30 July 2007), was an Italian film director, screenwriter, editor, and short story writer. Best known for his "trilogy on modernity and its discontents"—L'Avventura (1960), La Notte (1961), and L'Eclisse (1962)—Antonioni "redefined the concept of narrative cinema" and challenged traditional approaches to storytelling, realism, drama, and the world at large. http://www.imdb.com/name/nm0000774/

Michelangelo Antonioni (1912–2007). Italian film director, screenwriter, editor, and short story writer. Best known for his "trilogy on modernity and its discontents": L'Avventura, La Notte, and Eclipse. He "redefined the concept of narrative cinema" and challenged traditional approaches to storytelling, realism, drama, and the world at large. He produced "enigmatic and intricate mood pieces" and rejected action in favor of contemplation, focusing on image and design over character and sto

Michelangelo Antonioni (1912–2007). Italian film director, screenwriter, editor, and short story writer. Best known for his "trilogy on modernity and its discontents": L'Avventura, La Notte, and Eclipse. He "redefined the concept of narrative cinema" and challenged traditional approaches to storytelling, realism, drama, and the world at large. He produced "enigmatic and intricate mood pieces" and rejected action in favor of contemplation, focusing on image and design over character and sto

Michelangelo Antonioni's "Il Deserto Rosso" ("Red Desert)," 1964.

Red Desert (1964)

Michelangelo Antonioni's "Il Deserto Rosso" ("Red Desert)," 1964.

Jeanne Moreau in La Notte (1961, Michelangelo Antonioni)

Jeanne Moreau in La Notte (1961, Michelangelo Antonioni)

"L’avventura" by Michelangelo Antonioni (1960) - The Criterion Collection. Reissued 2014.

"L’avventura" by Michelangelo Antonioni (1960) - The Criterion Collection. Reissued 2014.

Michelangelo Antonioni - La Notte (1961) DOP: Gianni Di Venanzo

La Notte (1961)

Michelangelo Antonioni - La Notte (1961) DOP: Gianni Di Venanzo

MICHELANGELO ANTONIONI, MONICA VITTI

MICHELANGELO ANTONIONI, MONICA VITTI

L'Avventura. 1960, A, Aldo Scavarda, Michelangelo Antonioni

L'Avventura. 1960, A, Aldo Scavarda, Michelangelo Antonioni

Antonioni with Monica Vitti.

Antonioni with Monica Vitti.

Michelangelo Antonioni

Michelangelo Antonioni

Monica Vitti with Marcello Mastroianni in La notte directed by Michelangelo Antonioni, 1961

Monica Vitti with Marcello Mastroianni in La notte directed by Michelangelo Antonioni, 1961

Monica Vitti in Red Desert (Michelangelo Antonioni, 1964)

Monica Vitti in Red Desert (Michelangelo Antonioni, 1964)

L'Eclisse --Michelangelo Antonioni

FILM POSTERS : The Sixties

L'Eclisse --Michelangelo Antonioni

Il deserto rosso - Michelangelo Antonioni (1964)

Il deserto rosso - Michelangelo Antonioni (1964)

Michelangelo Antonioni.

Michelangelo Antonioni.

Michelangelo Antonioni's first color film, Il deserto rosso (1964), is a stunning portrayal of a woman trying to survive the modern world in 1960s Italy. Soft, muted colors contrast against the bleak grey industrial landscapes. It was known that Antonini and his crew would even paint a street to achieve the desired grey tone. Piero Poletto, the film's Art Director, used Tintal coloring to paint the sets.

Interior Design in 8 Classic Films by Eujin Rhee

Michelangelo Antonioni's first color film, Il deserto rosso (1964), is a stunning portrayal of a woman trying to survive the modern world in 1960s Italy. Soft, muted colors contrast against the bleak grey industrial landscapes. It was known that Antonini and his crew would even paint a street to achieve the desired grey tone. Piero Poletto, the film's Art Director, used Tintal coloring to paint the sets.