|Died||30 July 2007 94) (aged|
|Alma mater||University of Bologna|
(m. 1942;div. 1954)
|Partner||Monica Vitti (1960–1970)|
Michelangelo Antonioni Cavaliere di Gran Croce OMRI ( /ˌæntoʊniˈoʊni/ , Italian: [mikeˈlandʒelo (ˌ)antoˈnjoːni] ; 29 September 1912 – 30 July 2007) was an Italian director and filmmaker. He is best known for his "trilogy on modernity and its discontents"  — L'Avventura (1960), La Notte (1961), and L'Eclisse (1962)—as well as the English-language film Blow-up (1966). His films have been described as "enigmatic and intricate mood pieces"  that feature elusive plots, striking visual composition, and a preoccupation with modern landscapes.  His work substantially influenced subsequent art cinema.  Antonioni received numerous awards and nominations throughout his career, being the only director to have won the Palme d'Or, the Golden Lion, the Golden Bear and the Golden Leopard.
Antonioni was born into a prosperous family of landowners in Ferrara, Emilia Romagna, in northern Italy. He was the son of Elisabetta (née Roncagli) and Ismaele Antonioni.  The director explained to Italian film critic Aldo Tassone:
My childhood was a happy one. My mother ... was a warm and intelligent woman who had been a labourer in her youth. My father also was a good man. Born into a working-class family, he succeeded in obtaining a comfortable position through evening courses and hard work. My parents gave me free rein to do what I wanted: with my brother, we spent most of our time playing outside with friends. Curiously enough, our friends were invariably proletarian, and poor. The poor still existed at that time, you recognized them by their clothes. But even in the way they wore their clothes, there was a fantasy, a frankness that made me prefer them to boys of bourgeois families. I always had sympathy for young women of working-class families, even later when I attended university: they were more authentic and spontaneous. — Michelangelo Antonioni
As a child, Antonioni was fond of drawing and music. A precocious violinist, he gave his first concert at the age of nine. Although he abandoned the violin with the discovery of cinema in his teens, drawing would remain a lifelong passion. "I have never drawn, even as a child, either puppets or silhouettes but rather facades of houses and gates. One of my favourite games consisted of organizing towns. Ignorant in architecture, I constructed buildings and streets crammed with little figures. I invented stories for them. These childhood happenings—I was eleven years old—were like little films." 
Upon graduation from the University of Bologna with a degree in economics, he started writing for the local Ferrara newspaper Il Corriere Padano in 1935 as a film journalist.
In 1940, Antonioni moved to Rome, where he worked for Cinema, the official Fascist film magazine edited by Vittorio Mussolini. However, Antonioni was fired a few months afterwards. Later that year he enrolled at the Centro Sperimentale di Cinematografia to study film technique but left after three months. He was subsequently drafted into the army. During the war Antonioni survived being condemned to death as a member of the Italian resistance. 
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In 1942, Antonioni co-wrote A Pilot Returns with Roberto Rossellini and worked as assistant director on Enrico Fulchignoni's I due Foscari. In 1943, he travelled to France to assist Marcel Carné on Les visiteurs du soir and then began a series of short films with Gente del Po (1943), a story of poor fishermen of the Po valley. When Rome was liberated by the Allies, the film stock was transferred to the Fascist "Republic of Salò" and could not be recovered and edited until 1947 (the complete footage was never retrieved). These films were neorealist in style, being semi-documentary studies of the lives of ordinary people. 
However, Antonioni's first full-length feature film Cronaca di un amore (1950) broke away from neorealism by depicting the middle classes. He continued to do so in a series of other films: I vinti ("The Vanquished", 1952), a trio of stories, each set in a different country (France, Italy and England), about juvenile delinquency; La signora senza camelie (The Lady Without Camellias, 1953) about a young film star and her fall from grace; and Le amiche (The Girlfriends, 1955) about middle-class women in Turin. Il grido (The Outcry, 1957) was a return to working class stories, depicting a factory worker and his daughter. Each of these stories is about social alienation. 
In Le Amiche (1955), Antonioni experimented with a radical new style: instead of a conventional narrative, he presented a series of apparently disconnected events, and he used long takes as part of his film making style.  Antonioni returned to their use in L'avventura (1960), which became his first international success. At the Cannes Film Festival it received a mixture of cheers  and boos,  but the film was popular in art house cinemas around the world. La notte (1961), starring Jeanne Moreau and Marcello Mastroianni, and L'Eclisse (1962), starring Alain Delon, followed L'avventura. These three films are commonly referred to as a trilogy because they are stylistically similar and all concerned with the alienation of man in the modern world.    La notte won the Golden Bear award at the 11th Berlin International Film Festival,  His first color film, Il deserto rosso (The Red Desert, 1964), deals with similar themes, and is sometimes considered the fourth film of the "trilogy".  All of these films star Monica Vitti, his lover during that period.
Antonioni then signed a deal with producer Carlo Ponti that would allow artistic freedom on three films in English to be released by MGM. The first, Blowup (1966),  set in Swinging London, was a major international success. The script was loosely based on the short story The Devil's Drool (otherwise known as Blow Up) by Argentinian writer Julio Cortázar. Although it dealt with the challenging theme of the impossibility of objective standards and the ever-doubtable truth of memory, it was a successful and popular hit with audiences, no doubt helped by its sex scenes, which were explicit for the time. It starred David Hemmings and Vanessa Redgrave. The second film was Zabriskie Point (1970), his first set in America and with a counterculture theme. The soundtrack featured music from Pink Floyd (who wrote new music specifically for the film), the Grateful Dead and the Rolling Stones. However, its release was a critical and commercial disaster. The third, The Passenger (1975), starring Jack Nicholson and Maria Schneider, received critical praise, but also did poorly at the box office. It was out of circulation for many years, but was re-released for a limited theatrical run in October 2005 and has subsequently been released on DVD.
In 1966, Antonioni drafted a treatment entitled "Technically Sweet", which he later developed into a screenplay with Mark Peploe, Niccolo Tucci, and Tonino Guerra, with plans to begin filming in the early '70's with actors Jack Nicholson and Maria Schneider. On the verge of production in the Amazon jungle, the producer, Carlo Ponti, suddenly withdrew support and the project was abandoned, with Nicholson and Schneider going forward to star in The Passenger.  In 2008, "Technically Sweet", became an international group exhibition curated by Copenhagen-based artists Yvette Brackman and Maria Finn, in which the creations of several artists, working in multiple mediums and based on Antoniono's manuscript, were displayed in New York City.  One of these was the short film "Sweet Ruin", directed by Elisabeth Subrin and starring Gaby Hoffmann.  Antonioni's widow Enrica and director André Ristum have announced plans to produce a feature film based on the screenplay, with filming in Brazil and Sardinia to begin in 2023. 
In 1972, in between Zabriskie Point and The Passenger, Antonioni was invited by the Mao government of the People's Republic of China to visit the country. He made the documentary Chung Kuo, Cina , but it was severely denounced by the Chinese authorities as "anti-Chinese" and "anti-communist".  The documentary had its first showing in China on 25 November 2004 in Beijing with a film festival hosted by the Beijing Film Academy to honour the works of Michelangelo Antonioni.
In 1980, Antonioni made Il mistero di Oberwald (The Mystery of Oberwald), an experiment in the electronic treatment of color, recorded in video then transferred to film, featuring Monica Vitti once more. It is based on Jean Cocteau's play L'Aigle à deux têtes (The Eagle With Two Heads). Identificazione di una donna (Identification of a Woman, 1982), filmed in Italy, deals one more time with the recursive subjects of his Italian trilogy. In 1985, Antonioni suffered a stroke, which left him partly paralyzed and unable to speak. However, he continued to make films, including Beyond the Clouds (1995), for which Wim Wenders filmed some scenes. As Wenders has explained, Antonioni rejected almost all the material filmed by Wenders during the editing, except for a few short interludes.  They shared the FIPRESCI Prize at the Venice Film Festival with Cyclo .
In 1994 he was given the Honorary Academy Award "in recognition of his place as one of the cinema's master visual stylists." It was presented to him by Jack Nicholson. Months later, the statuette was stolen by burglars and had to be replaced. Previously, he had been nominated for Academy Awards for Best Director and Best Screenplay for Blowup . Antonioni's final film, made when he was in his 90s, was a segment of the anthology film Eros (2004), entitled Il filo pericoloso delle cose (The Dangerous Thread of Things). The short film's episodes are framed by dreamy paintings and the song "Michelangelo Antonioni", composed and sung by Caetano Veloso.  However, it was not well-received internationally; in America, for example, Roger Ebert claimed that it was neither erotic nor about eroticism.  The U.S. DVD release of the film includes another 2004 short film by Antonioni, Lo sguardo di Michelangelo (The Gaze of Michelangelo).
Antonioni died at age 94 on 30 July 2007 in Rome, the same day that another renowned film director, Ingmar Bergman, also died. Antonioni lay in state at City Hall in Rome where a large screen showed black-and-white footage of him among his film sets and behind-the-scenes. He was buried in his hometown of Ferrara on 2 August 2007.
It's too simplistic to say—as many people have done—that I am condemning the inhuman industrial world which oppresses the individuals and leads them to neurosis. My intention ... was to translate the poetry of the world, in which even factories can be beautiful. The line and curves of factories and their chimneys can be more beautiful than the outline of trees, which we are already too accustomed to seeing. It is a rich world, alive and serviceable ... There are people who do adapt, and others who can't manage, perhaps because they are too tied to ways of life that are by now out-of-date.
—Antonioni, interviewed about Red Desert (1964). 
Critic Richard Brody described Antonioni as "the cinema's exemplary modernist" and one of its "great pictorialists—his images reflect, with a cold enticement, the abstractions that fascinated him."  AllMovie stated that "his films—a seminal body of enigmatic and intricate mood pieces—rejected action in favor of contemplation, championing image and design over character and story. Haunted by a sense of instability and impermanence, his work defined a cinema of possibilities."  Stephen Dalton of the British Film Institute described Antonioni's influential visual hallmarks as "extremely long takes, striking modern architecture, painterly use of colour, [and] tiny human figures adrift in empty landscapes," noting similarities to the "empty urban dreamscapes" of surrealist painter Giorgio de Chirico.  Film historian Virginia Wright Wexman notes the slowness of his camera and the absence of frequent cuts, stating that "he forces our full attention by continuing the shot long after others would cut away."  Antonioni is also noted for exploiting colour as a significant expressive element in his later works, especially in Il deserto rosso , his first colour film. 
Antonioni's plots were experimental, ambiguous, and elusive, often featuring middle-class characters who suffer from ennui, desperation, or joyless sex.  Film historian David Bordwell writes that in Antonioni's films, "Vacations, parties and artistic pursuits are vain efforts to conceal the characters' lack of purpose and emotion. Sexuality is reduced to casual seduction, enterprise to the pursuit of wealth at any cost."  The New Yorker wrote that "Antonioni captured a new bourgeois society that shifted from physical to intellectual creation, from matter to abstraction, from things to images, and the crisis of personal identity and self-recognition that resulted," calling his 1960s collaborations with Monica Vitti "a crucial moment in the creation of cinematic modernism."  Richard Brody stated that his films explore "the way that new methods of communication—mainly the mass media, but also the abstractions of high-tech industry, architecture, music, politics, and even fashion—have a feedback effect on the educated, white-collar thinkers who create them," but noted that "he wasn’t nostalgic about the premodern." 
Wexman describes Antonioni's perspective on the world as that of a "postreligious Marxist and existentialist intellectual."  In a speech at Cannes about L'Avventura, Antonioni said that in the modern age of reason and science, mankind still lives by
"a rigid and stereotyped morality which all of us recognize as such and yet sustain out of cowardice and sheer laziness [...] We have examined those moral attitudes very carefully, we have dissected them and analyzed them to the point of exhaustion. We have been capable of all this, but we have not been capable of finding new ones."
Nine years later he expressed a similar attitude in an interview, saying that he loathed the word 'morality': "When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them."  Critic Roland Barthes claimed that Antonioni's approach "is not that of a historian, a politician or a moralist, but rather that of a utopian whose perception is seeking to pinpoint the new world, because he is eager for this world and already wants to be part of it."  He added that his art "consists in always leaving the road of meaning open and as if undecided." 
Bordwell explains that Antonioni was extremely influential on subsequent art films: "More than any other director, he encouraged filmmakers to explore elliptical and open-ended narrative."  The Guardian described him as, "in essence, a director of extraordinary sequences," and advised viewers to "forget plotting, characters or dialogue, his import is conveyed in absolutely formal terms." 
Film director Akira Kurosawa considered Antonioni one of the most interesting filmmakers.  Stanley Kubrick listed La Notte as one of his ten favorite films in a 1963 Poll.  Miklós Jancsó considers Antonioni as his master. American director Martin Scorsese paid tribute to Antonioni following his death in 2007, stating that his films "posed mysteries—or rather the mystery, of who we are, what we are, to each other, to ourselves, to time. You could say that Antonioni was looking directly at the mysteries of the soul."  American directors Francis Ford Coppola and Brian De Palma paid homage to Antonioni in their own films. 
Antonioni's spare style and purposeless characters, however, have not received universal acclaim. Ingmar Bergman stated in 2002 that while he considered the Antonioni films Blowup and La notte masterpieces, he found the other films boring and noted that he had never understood why Antonioni was held in such esteem. Orson Welles regretted the Italian director's use of the long take: "I don't like to dwell on things. It's one of the reasons I'm so bored with Antonioni—the belief that, because a shot is good, it's going to get better if you keep looking at it. He gives you a full shot of somebody walking down a road. And you think, 'Well, he's not going to carry that woman all the way up that road.' But he does. And then she leaves and you go on looking at the road after she's gone." 
American actor Peter Weller, whom Antonioni directed in Beyond the Clouds , explained in a 1996 interview: "There is no director living except maybe Kurosawa, Bergman, or Antonioni that I would fall down and do anything for. I met Antonioni three years ago in Taormina at a film festival. I introduced myself and told him that I adored his movies, his contributions to film, because he was the first guy who really started making films about the reality of the vacuity between people, the difficulty in traversing this space between lovers in modern day ... and he never gives you an answer, Antonioni—that's the beautiful thing." 
|Year||English title||Original title|
|1950||Story of a Love Affair||Cronaca di un amore|
|1953||The Vanquished||I Vinti|
|1953||The Lady Without Camelias||La signora senza camelie|
|1955||The Girl Friends||Le Amiche|
|1957||The Cry||Il Grido|
|1961||The Night||La Notte|
|1964||Red Desert||Il Deserto Rosso|
|1972||Chung Kuo, Cina||documentary|
|1975||The Passenger||Professione: Reporter|
|1980||The Mystery of Oberwald||Il mistero di Oberwald|
|1982||Identification of a Woman||Identificazione di una donna|
|1995||Beyond the Clouds||Al di là delle nuvole|
Theodoros "Theo" Angelopoulos was a Greek filmmaker, screenwriter and film producer. He dominated the Greek art film industry from 1975 on, and Angelopoulos was one of the most influential and widely respected filmmakers in the world. He started making films in 1967. In the 1970s he made a series of political films about modern Greece.
L'Avventura is a 1960 Italian drama film directed by Michelangelo Antonioni. Developed from a story by Antonioni with co-writers Elio Bartolini and Tonino Guerra, the film is about the disappearance of a young woman during a boating trip in the Mediterranean, and the subsequent search for her by her lover and her best friend. It was filmed on location in Rome, the Aeolian Islands, and Sicily in 1959 under difficult financial and physical conditions. The film is noted for its unusual pacing, which emphasizes visual composition, mood, and character over traditional narrative development.
Blow-up is a 1966 mystery drama thriller film directed by Michelangelo Antonioni and produced by Carlo Ponti. It was Antonioni's first entirely English-language film, and stars David Hemmings alongside Vanessa Redgrave and Sarah Miles. Also featured is 1960s model Veruschka. The film's plot was inspired by Julio Cortázar's short story "Las babas del diablo" (1959).
The 57th Cannes Film Festival started on 12 and ran until 23 May 2004. The Palme d'Or went to the American film Fahrenheit 9/11 by Michael Moore.
Monica Vitti was an Italian actress who starred in several award-winning films directed by Michelangelo Antonioni during the 1960s. She appeared with Marcello Mastroianni, Alain Delon, Richard Harris, Terence Stamp, and Dirk Bogarde. On her death, Italian culture minister Dario Franceschini called her "the Queen of Italian cinema".
My Voyage to Italy is a personal documentary by acclaimed Italian-American director Martin Scorsese. The film is a voyage through Italian cinema history, marking influential films for Scorsese and particularly covering the Italian neorealism period.
L'Eclisse is a 1962 Italian romance film written and directed by Michelangelo Antonioni and starring Alain Delon and Monica Vitti. Filmed on location in Rome and Verona, the story follows a young woman (Vitti) who pursues an affair with a confident young stockbroker (Delon). Antonioni attributed some of his inspiration for L'Eclisse to when he filmed a solar eclipse in Florence. The film is considered the last part of a trilogy and is preceded by L'Avventura (1960) and La Notte (1961).
La Notte is a 1961 drama film directed by Michelangelo Antonioni and starring Marcello Mastroianni, Jeanne Moreau and Monica Vitti. Filmed on location in Milan, the film depicts a single day and night in the lives of a disillusioned novelist (Mastroianni) and his alienated wife (Moreau) as they move through various social circles. The film continues Antonioni's tradition of abandoning traditional storytelling in favor of visual composition, atmosphere, and mood.
Antonio "Tonino" Guerra was an Italian poet, writer and screenwriter who collaborated with some of the most prominent film directors in the world.
The Nastro d'Argento for Best Director is a film award bestowed annually as part of the Nastro d'Argento awards since 1946, organized by the Italian National Association of Film Journalists, the national association of Italian film critics.
Room 666 is a 1982 documentary film directed by German film director Wim Wenders.
Il grido is a 1957 Italian drama film directed by Michelangelo Antonioni and starring Steve Cochran, Alida Valli, and Betsy Blair. It received the Golden Leopard at the 1957 Locarno Film Festival.
Le Amiche is a 1955 Italian drama film directed by Michelangelo Antonioni and starring Eleonora Rossi Drago, Gabriele Ferzetti, Franco Fabrizi, and Valentina Cortese. Based on Cesare Pavese's 1949 novella Tra donne sole, Le Amiche portrays a group of five upper-class women in Turin and their various relationships with men. It premiered at the Venice Film Festival where it was awarded the Silver Lion.
The Mystery of Oberwald is a 1980 Italian–German television drama film directed by Michelangelo Antonioni and starring Monica Vitti, Paolo Bonacelli, and Franco Branciaroli. It is based on the 1946 play L'Aigle à deux têtes by Jean Cocteau.
Beyond the Clouds is a 1995 Italian-French-German romance film directed by Michelangelo Antonioni, with contributions by Wim Wenders, and starring John Malkovich, Sophie Marceau, Vincent Perez, Irène Jacob, and Jean Reno. The film consists of four stories of romantic love and illusion told from the perspective of a wandering film director. In the first story, two beautiful young lovers are unable to consummate their passion because the young man desires impossible perfection. In the second story, the director makes love to a young woman who reveals that she murdered her father. In the third story, a man makes an effort to appease both his wife and his mistress. In the fourth story, a young man is infatuated with a girl who is about to enter a convent. This was the final feature-length film by Antonioni before his death in 2007.
The 20th Cannes Film Festival was held from 27 April to 12 May 1967. The Grand Prix du Festival International du Film went to the Blowup by Michelangelo Antonioni. The festival opened with J'ai tué Raspoutine, directed by Robert Hossein and closed with Batouk, directed by Jean Jacques Manigot.
The 35th Cannes Film Festival was held from 14 to 26 May 1982. The Palme d'Or was jointly awarded to Missing by Costa Gavras and Yol by Şerif Gören and Yılmaz Güney.
The 11th annual Berlin International Film Festival was held from 23 June to 4 July 1961. The Golden Bear was awarded to the Italian film La notte directed by Michelangelo Antonioni.
Mantarraya Productions, is an independent cinema production company funded in 1998. On their web page they define Mantarraya as; "... works as a platform for a new generation of filmmakers and has earned a reputation for promoting new talent".
The 5th Yerevan Golden Apricot International Film Festival was a film festival held in Yerevan, Armenia from 13–20 July 2008. The festival had more than 450 submissions from 67 countries; viewers had an opportunity to see over 160 films. Among the honorable guests of the festival were Wim Wenders, Enrica Antonioni, Goran Paskaljevic, Dariush Mehrjui, Catherine Breillat, and others. A Special Tribute was paid to Michelangelo Antonioni by honoring him with a posthumous Parajanov’s Thaler. Additionally, Wim Wenders and Dariush Mehrjui were honored with Parajanov’s Thaler Lifetime Achievement Awards. The main prizewinners of the 5th Golden Apricot were Anna Melikian from Russia for her film The Mermaid, Meira Asher from Israel for the film Women See Lot of Things, and Eric Nazarian from the USA for The Blue Hour. The FIPRESCI Award went to Huseyn Karabey with his film My Marlon and Brando and the Ecumenical Award to Eric Nazarian with his film The Blue Hour.